29 July 2010
ASQ National Composers' Forum: Composer Blog - Thomas Green
[Update 14 September 2010 - links added]
I feel greatly privileged to have recently had my piece selected
by the Australian String
Quartet for their Forum with Carl Vine. In my case there are
two reasons in particular for me to be pleased: Firstly, because
I am not a native string player, and secondly because I am
currently heavily involved with other very different styles of
music, in spite of my continuing fondness for classical
music.
My musical interest is presently very broad; not only in terms of
what I enjoy but also of what I deliberately create (I imagine
I'm just one of a growing number of composers today who are
similar in this regard). My breadth of musical interest - and the
difficulties and possibilities this results in - is perhaps the
main starting point on any occasion I begin a piece for a
traditional ensemble.
I understand that a string quartet (in reference to both the
ensemble and a piece of music) is an historically significant
structure, with numerous particularities. Yet I am interested in
working on a cohesive musical style which acknowledges some debt
to my other, non-classical musical influences. These have
encouraged novel ideas about where else we might find complexity
in a piece of music, apart from where composers traditionally
looked.
This focus, combined with my non-nativity as a string player,
made certain compositional choices manifest from the outset: A
focus upon double stops with open strings, and arpeggiated
ostinatos which I hope fit well under the player's hand. In this
case I picture complexity as being inherent in the sonority of
those strings, and the harmonic possibilities subtly, somewhat
spontaneously, develop as the tonality extends through time by
way of the arpeggios. This is as opposed to imagining complexity
in more traditional ways, for instance purely in terms of
abstracted pitches and their harmonic relationships.
However, as the piece progressed, I attempted to introduce some
of my interest in melody and harmony into that sonority-centered
texture. This was both to appease my own creative impulses but
also to widen the scope of the piece beyond its fairly minimal
beginning.
It's because I feel that I am as yet very much a beginner that I
have avoided being excessively ambitious in composing this piece,
in favour of producing something which has utility: That is, in
regard to what I can learn; what is readily performable, and has
a reasonable breadth of appeal.
In particular, I am expecting that the Forum will help me with
the first and second of those three. I have to admit that I'm
anxious about my technique in writing for strings and I'm sure
I'll be much better off thanks to this opportunity. I'm sure I'll
receive good advice on the technicalities of string ensemble
composition; additionally I can't wait to discuss contemporary
harmony and style with Carl Vine, whose music I have enjoyed for
many years.
Further links
Thomas Green - website
Thomas Green - ASQ National Composers' Forum, composer blog,
part 2
Melody Eötvös -
ASQ National Composers' Forum, composer blog, part 1
Melody Eötvös -
ASQ National Composers' Forum, composer blog, part 2
Adam
Starr -
ASQ National Composers' Forum, composer blog part 2
Adam Starr -
ASQ National Composers' Forum, composer blog, part 1
Mark
Holdsworth -
ASQ National Composers' Forum, composer blog, part 1
Ross Carey -
ASQ National Composers' Forum, composer blog
© Australian Music Centre (2010) — Permission must be obtained from the AMC if you wish to reproduce this article either online or in print.
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