Programmatic Music and Extra-Musical Stimuli

A little while ago I said that I wanted to compose a piece directly inspired by the famous Klimt painting, “Adele Bloch-Bauer I”, re-named “The Lady in Gold” by the Nazis who stole it, and the subject matter of the recent film “Woman in Gold”.

I’ve already mentioned that I have a particular interest in art and that art inspires a lot of my work nowadays.  It is particularly important for me, however, that if I say I am writing a piece directly inspired by a work of art, that my own work tries to directly convey what I see visually  –  not just what I feel emotionally.  I feel that too often nowadays composers will attempt to attach their work to some subject or other in order to gain the interest of a particular audience (or even more likely, to attract a commission).  The result, however, is often highly subjective at best  –  and at worst displays a disconnect which mystifies the audience.

Of course, the result of such a project is always going to be subjective to some degree  –  but if, hand on heart, I can say that I have attempted to stay close to my chosen inspiration, in form as well as feeling, then I can be happy that I have done myself (and hopefully, the artist too) justice.

Musical compositions need not have any extra-musical stimuli or programmatic qualities at all, of course  –  music can be “music for music’s sake”  –  but increasingly this does not seem to be the case.  One only has to look at the list of new music composed for the 2015 BBC Proms to see that composers are taking  extra-musical inspiration from a wide variety of sources.  The old standard forms of the sonata and the symphony as used by the great masters of the Classical era and then developed by the composers of the Romantic era, have, to all intents and purposes, run their course and have been discarded by modern day composers (though not exclusively).  These have not been replaced with new standard forms for the present day and this possibly explains the need of composers to attach their work to some extra-musical stimulus or other in order to develop form.

Given my genuine interest in art, as well as my particular liking for modern art, I feel that my work is much more closely inspired by, and much more intrinsically related to my chosen subject matter than might otherwise be the case. My composition, inspired by Klimt’s “Adele Bloch-Bauer I”, is now complete, and I will post an extract of this piece later in the week.

The Hands of Time

Last weekend I was lucky enough to attend the Patek Philippe exhibition of luxury watches at the Saatchi Gallery in London.  The security presence was intense, as this collection of beautiful timepieces (which were mostly made of gold or platinum and many encrusted with diamonds and jewels of all kinds) represents considerable value.  We were also given an insight into the workmanship involved in the making of all the intricate parts of these watches, as well as the time and skill required to do so.

I’m very glad to say that I have no photographs to share with you from this exhibition.  The clicking of smartphones was irritatingly continuous and I’m sorry to say that the smartphones often got a better view of the objects on display than did I.  The joy of experiencing  and appreciating things in the present, with one’s own eye, seems to have now lost out to the desire to “share” things via social media after the event.

Nonetheless, I feel very privileged to have visited the exhibition and to have seen these watches at close quarters.  It also rekindled a desire on my part to compose a piece based on the idea of the passing of time and how we are made acutely aware of this by the timepieces around us.

However, this idea will have to join my ever increasing wish list.  Some posts ago I said that I wanted to compose a piece about the Klimt painting “Adele Bloch-Bauer I”, which was the subject of the recent film, “Woman in Gold”.  I’m pleased to say that I’ve been working on this piece and will be ready to unveil this within the next week or so.

Hero – Family of the Year

The film “Boyhood” will never so much as enter the top forty of my favourite films  –  it was too long by a least one third of its running time and the storyline lost its way and went severely off-piste of me around half way through the proceedings.  The music choices, however, were clever  –  and one real musical gem was the song “Hero”, which propelled the band “Family of the Year” from relative obscurity to well-deserved fame.

The subject matter  –  the burden of responsibility faced by someone growing up and reaching maturity  –  was almost too perfect a fit for the film.  The emotion expressed in the song is very direct and emotional.

But of course I’m listening with the ears of a composer who hears things in terms of construction and technique.  Quite apart from the obvious beauty of the melodic line and its accompanying harmonic progressions, what, for me, makes the song so successful in building and maintaining tension and momentum is the interesting fact that it doesn’t use what we call a “perfect cadence” even once in the song until right at the end  –  after the singing has finished.  Every verse ends on an imperfect cadence  –  or, in the language of the layman, sounds unfinished, as though wanting to move on rather than finish.  I would love to know if this was intentional on the part of the song writer.  I suspect not, and that it was pure serendipity, growing organically from the feelings expressed in the words.  But I think that maybe this element of the song’s construction turned what might have been merely a nice song into a really great song.