Oberlin Portrait: Mark Barden

When asked why or how they began playing music, it seems most musicians have an interesting or offbeat story to tell. Pianist Mark Barden '03, a recent winner of the 2002 Oberlin Concerto competition, is no exception. "I started studying when I was six years old out of envy, really," Barden says. "My older sister played, and I was jealous. She got a lot of attention for it, and I wanted lots of attention because that's what you want when you’re a kid."

The young pianist soon realized, however, that it would take more than a naive craving for attention to warrant the pursuit of a career in music. "My goal was just to be better than she was. Then I got better, and all of a sudden it was no fun anymore."

A few years later, Barden quit playing for a year, marking a turning point in his musical career. "I was able to take some time away and come back to music on my own. When I came back, it was something I wanted to do, not out of envy, but because I really wanted to do it for myself."

The rest, as they say, is history.

Barden continued his piano studies at a feverish pace, teaching himself all of the music from the movie The Piano at the age of 12. At age 13 he began studying privately in Cleveland, and since coming to Oberlin in 1998, he has been a major player in the new music scene on campus.

During his time here, Barden has premiered new works by the late Leslie Roberts ’02 and Associate Professor of Composition Lewis Nielsen, and has organized several new music concerts, including a current weekly series that occurs Friday nights.

The pianist and composer is also in the midst of applying for a Watson Fellowship to study the music of Russian-born composer Alfred Schnittke. If Barden is accepted, the fellowship will allow him to travel to Russia, Germany, and Great Britain to study with some of Schnittke’s closest associates, including friends and family members. "His music is so raw, and when it’s done well, it’s incredibly powerful. I think that’s what music and humanity really need these days --powerful artistic experiences. For that reason, learning his music makes a lot of sense to me."

Last November Barden performed Schnittke’s Concerto for Piano and Strings with the Oberlin Chamber Orchestra, led by Steven Smith, Associate Professor of Conducting, in a concert broadcast live on WCLV, 104.9 FM, Cleveland's classical music radio station.

Barden is also working on a full orchestra piece and will give two recitals in the spring, one featuring his works and one solo recital. A clarinet trio he is writing will be debuted at the Midwest Composers’ Symposium in February 2003.

While his career path is yet to be determined, Barden knows one thing for sure. "Whatever I do, I will be involved in the arts. I need to be in an artistic community, surrounded by artists. That's really all that's important to me. I don’t need a lot of money, and I certainly don’t need fame. It would be nice to produce art and engage with other people who produce art. Art is a big beast that's always changing and always showing you new things. We have no idea where it's going to be in 10 years. I want to be around to watch that happen."

Sounds like he’s come a long way from the kid who just wanted to trump his big sis.

A conversation with Mark Barden:
What inspired you to be a musician?
Pure envy inspired me to start playing. My sister played the piano and I wanted to be better than she was. My inspiration to become a musician came from listening to great musicians and great works of music.

What keeps you inspired on discouraging days?
Caffeine. No, that's actually a lie. That was last year's answer. This year it's my friends and professors. I feed off of their work ethics and their brilliance.

What is the most memorable performance you have seen and why?
I'm going to take advantage of a loophole in this question and name a nonmusic performance: Aurora Nealand's ‘02 play In Memoriam in 2002. I really think she's a genius. She brought together so many genres and media, the script was witty and profound, the execution compelling, and it was so much damn fun.

If you could perform with any musician, living or dead, who would it be? What would you perform?
It's a toss-up between Janis Joplin and Alexander Scriabin. Janis and I would have to get drunk and sing duets badly in some sketchy bar. But all I really want to do is play Heart and Soul with Lewis Nielson: piano four hands. Or maybe jaw harp.

If you could master another instrument, what would it be?
Does anyone ever answer anything besides the cello to this question? If they do, they're obviously in denial. The cello is the coolest thing ever.

If you could not be a musician, what other profession would you choose? What profession would you definitely NOT choose?
Filmmaking. Two years ago, I almost dropped out of Oberlin to study film in San Francisco. It's such a young and rich medium. It's incredibly popular and the western culture (and, increasingly, nonwestern cultures) seems to prefer it over all other art forms. Carpentry is attractive as well. I would definitely avoid telemarketing and insurance salesman. Thumbs way down. I don't care if Ives sold insurance.

What do you listen to for inspiration? In your free time?
Birds, chirping softly, in the calm morning light. Or I take my friends' recommendations. I like to be shocked and exposed to new sounds, new perspectives. I’ve been into noise lately (Robochanman, Government Alpha). I like hearing student works a lot. And Björk.

What do you like to read?
Whatever it is, I have to read it obsessively. I tend to read by subject. Recently: gender theory, erotica, string theory, Schnittke, and coon hunting.

What are the three words that best describe you?
Carbon-based life form.