“Fate is knocking at the door!”
My musical odyssey, so far.
Ever since I was a kid I wanted to be a musician. From the first song I sang, to the first time I picked up a violin, I knew I was supposed to do something with music.
I began to compose at the age of 13. (God, how my original manucripts make me shudder now.) I have always been drawn to composition. It is my life’s passion and I believe it to be my true talent. To say that from seemingly nothing I have created a portal into my soul is quite an astounding thing.
I have three composers I idolize (one could say a Holy Trinity) and each for a special reason. The Virgin Mary is Richard Wagner, whom I admire for his amazing orchestration, harmonization, and the fact that he did EVERYTHING! Sure he was anti-Semitic, but to write such beautiful music it gives credence to the phrase, “Respect the art, not the artist.”
Jesus would be Tchaikovsky. I’ve always had a fondness for his music, but it wasn't till I played his music for the first time that I realized the sheer Russian force which lay underneath. Plus, like me, he was gay and I find that I connect with Tchaikovsky in a way I don’t with other composers.
Last, but not least, God is Beethoven, or Beethoven is God, whichever you prefer. Where would the Romantic era be without Beethoven. The very name makes one think of a towering giant who looks down on you with a stern look, judging you from heaven and yet showing love and mercy. Beethoven transcends any boundaries, and is timeless. (To this day, I still cannot officially classify his 5th Symphony in any sort of style. It’s just kind of there.)
Other inspirations come from Prokofiev, Stravinsky, and even some Philip Glass, though typically I don’t care for the repetitious sounds of minimalism.
I have a dream which I want to accomplish with my music. That dream is to inspire a whole new generation of musicians and composers to think in a new way about modern music. Think beyond the ‘skweek sqwak’ sounds of John Cage and other modern composers. Fight serialism as it’s own seperate artform. Feel free to incorporate modern techniques but never lose focus of the three main principals of composition: melody, harmony, and rhythm. Too often do I hear too much rhythm and unimaginative harmony with barely any evidence of melody, or a very poor one at that.
Already I see a resurgence of tonality in music, which I’m pleased with. However I fail to see anybody writing big works anymore, such as symphonies. I want to bring the symphony back to a place of prominance as a high artform. I want to write monumental works which move people’s souls and leave them with a sense of awe and wonder.
That is why I’d describe my music as neoromantic. I draw heavily upon romantic era influences but I occasionally drift off into modern technique. That, to me, is how music should be. Modern, yet still able to trancend emotion.
So far, I’ve had several pieces premiered and one published. I’m looking to have my first major orchestral work, “Paintings: Three Vignettes for Orchestra” performed by the Gateway Festival Orchestra this summer.