A Composed Life: Opus 2. News about composer Jim Stephenson

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OPUS 2: NEWSLETTER OF JIM STEPHENSON: COMPOSER, CONDUCTOR, ARRANGER, EDUCATOR

FEBRUARY 20, 2021

A composed life: Music and Jim Stephenson News about what’s just happened, what’s happening, and what’s coming up

I

will always cherish and hold in high esteem the musical giants of the past, in addition to adding my own modern sensitivities, so as to try to give my music a blend of familiarity and new discovery all at

once. With this, I hope to lead audiences and performers on a journey of both anticipation and reward.

WOODEN DIMES World premiere

of my new ballet score

Click here

~ Jim Stephenson

In this issue:

Fish out of water?

✦ Re-visiting the old stomping grounds Read what inspired “TWISTED SHOUT”, a new piece for my old high school band

✦ Featured story : A fish out of water: what is our “porpoise”?

Unlike dolphins, porpoises do not form large social groups.

I’m a former orchestral trumpeter (social environment) turned composer (solitary environment).

Story on next page.

✦ Works written in the last month for a most unique flex ensemble: May the Road Rise; + 3 arrangements for Grand Rapids Symphony

RECENT

NOW

NEXT

JUST WRITTEN

CURRENT NEWS

LOOKING AHEAD

Discover what Jim has just composed in the last month, and for whom they were written.

What is being featured at the moment, and who is involved

What’s on Jim’s writing schedule, and what activities are coming up.

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Twisted Shout What does Ferris Bueller have to do with a new piece for my old high school band?

A COMPOSED LIFE, OPUS 2

FEBRUARY 20, 2021

TWISTED SHOUT for concert band

Written for the Lockport High School Band directed by Brian Covey

Back in the fall of 1983, I was presented with a choice: to continue my schooling at the Lockport (IL) Township High School, or to start my sophomore year at the Interlochen Arts Academy. I chose the latter, which meant that I would NOT be a part of the famous “Twist and Shout” scene in Ferris Bueller, such as the rest of my LTHS band-mates got to enjoy. (Those classmates are pictured to the right). —> Some 38 years later, I received a commission from that very band, and decided to name the piece TWISTED SHOUT. While not necessarily referencing the Beatles’ music as one might think, it instead deals uniquely with the voice of young people, specifically those who don’t feel that their voice gets heard. Therefore, their “shouts” for action sometimes go unnoticed. To achieve this narrative, I have set the work to use a “spoken word” soloist, with the option to have a “signer” (for those hearingimpaired) to artistically translate the words of those being spoken. In my mind, it’s a most unique presentation, and one I very much look forward to hearing and seeing.

FERRIS BUELLER AND LTHS BAND

A FISH OUT OF WATER: WHAT IS OUR “PORPOISE”?

— For the longest time - 28 years to be exact - I thought I would be nothing other than a trumpet player. I had gone to camps, to school, to do just that, and eventually joined a professional orchestra, fulfilling what I thought was my purpose.

But then something happened… I began composing music. That whole story is for another time.

Once I became a full-time composer, for the longest time, I was reticent to talk too much about my time *in* the orchestra. I wanted to be seen as a composer, someone whose job it was to write *for* the orchestra. Maybe I was imagining things, but I sensed that people who heard that I was a trumpeter, and that I hadn’t gone through the proper “channels” in order to become ‘A COMPOSER’, wouldn’t take my work seriously. How could someone call themselves a professional if they didn’t have the *degree* to back it up.

Ever heard of imposter syndrome?

Well, luckily I was a knucklehead, and decided to carry on even with all those sorts of misgivings.

With more and more time, I began to realize that my time in the orchestra was a strength. It’s a unique experience to me, where I could summon up those years of experiences and use them to my advantage when composing music. The other reality of being a composer is that it is a completely isolated environment. We literally live inside our own heads for most of the day. Every day.

When I was in the orchestra, I was the goofball. (Apologies to all of my former conductors). I was very much a social person: saying funny things under my breath to my brass-playing neighbors, adding “choreography” during pops shows, or maybe on occasion catching the eye of my to-be bride in the violin section.

It is true to say that I do miss the social part of being in the orchestra. But I have learned to channel those memories, and to funnel them into my compositions. I literally close my eyes, and I imagine the energy of my orchestral colleagues, as they await and prepare for a big solo. Or the ways that violinists might all move toward each other, or move together, during a particularly fun passage to play. Then there is the other side of the coin, which is to be avoided: the subtle looks players give another when something annoying has to be played, or the worst: the inevitable book-reading (or these days I-phone scrolling) which indicates that the music isn’t as captivating as the composer might think, or hope. I know these things because I’ve done all of these things.

But here is my point: I am a product of my own experiences; no one else’s but mine. It takes time to gather these experiences, for sure, but each and every one of them helps to form the unique voice that reveals itself in my music. I’ve tried to write “other people’s music”, and I have failed magnificently. Perhaps there are even some former commissioners of music from me, who are even nodding their head as they read this.

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A COMPOSED LIFE, OPUS 2

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FEBRUARY 20, 2021

Well, guess what, those failures are every bit a part of my newly composed music as the successes are. Do I consider my audiences when I write my music? You better believe it. Why? Because the feeling of being in the audience while an audience member isn’t enjoying their investment of time and money to hear my music is horrible! Do I consider the music librarians? Absolutely. Why? Experience. Do I consider the administrators and commissioners? The conductor? The personnel manager?

I think you all can guess the answer.

Therefore, I think it is our purpose to be as true to our experiences as much as we possibly can; to be true to ourselves in every aspect of what we do for our creative career. Because it is my belief that that is what gives us that special quality which, with any luck, people might find enjoyable, and will therefore invest their resources to push the needle forward for that person.

I also know that it’s ok for our purposes to evolve. I am feeling the call more and more to start giving back. I was a very lucky recipient of so much generosity in my formative years. I know that I will be doing all I can in my power to pay that debt back in an effort to help People out who might need it. But that will also be the topic for another newsletter down the road a bit.

For now, I’m going to enjoy doing what I’m doing (thank you ALL who continue to support me), and I’ll dip my toes increasingly into the waters of helping others as much as life will allow. I hope the porpoises don’t mind the company.

JUST WRITTEN: JANUARY 20, 2021 - FEBRUARY 20, 2021 TWISTED SHOUT

Commissioned by the

Commissioned by Brian Covey for the Lockport Township High School Band

Grand Rapids Symphony for chamber orchestra: WILLIAM TELL (Finale) BACH “Little Fugue” SOUSA - The Thunderer

WOODEN DIMES a ballet for wind ensemble

(see more below)

CONTACT ME FOR AVAILABILITY

commissioned by “The President’s Own” US Marine Band

MAY THE ROAD RISE TO MEET YOU for adaptable ensembles

CURRENT NEWS • Covid reality: I’ve been working a lot this month with Martin West - director of the San Francisco Ballet orchestra - who has been putting in

countless hours mixing and mastering the individual recordings submitted by the orchestra, from which he has amassed the “full-orchestra” sound. It’s been an amazing process. Premiere - March 4, 2021

3 new videos:

SUSAN RIDER PLAYS “L’ESPRIT DE LA TROMPETTE”

LA PHIL TRUMPETER JIM WILT PLAYS “DAYTUDES”

WATCH MY DESCRIPTION OF MAY THE ROAD RISE TO MEET YOU for adaptable ensembles, chamber music, and soloists

• Today marks the 5th anniversary of the premiere of “CONCERTO for HOPE”, written for the late Ryan Anthony. For more insight

into the behind-the-scenes experiences with Ryan, please visit (click ->) a post I made on Facebook. WATCH PERFORMANCE. • I was named the inaugural composer for a commissioned work from the newly formed Arkansas Consortium Project. I’ll be writing a

piece similar in nature to that of Percy Grainger’s famous Lincolnshire Posy: essentially a folk song suite, with my own spin…

LOOKING AHEAD NEXT ON MY PLATE: I eagerly begin working on a companion to the Stravinsky Octet, set to record in May. Did you know??

I’ve written roughly 150 orchestra arrangements. Several recorded by the Cincinnati Pops, and even featured by The Boston Pops on TV.

Find me on:

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ComposerJim.com