What is the necessary balance between personal expression and compositional technique? Approaching composition pedagogy is a tricky problem, as Oberlin's student composers have discovered. However, the series of student composer concerts thus far has proven to be innovative and varied in content, and yesterday evening was no acception.
Composers at the college level are generally 10 to 12 years behind their performing classmates in formal study, but the Composition Department, chaired by Randy Coleman, approaches this instructional disadvantage through volume and group experience. Student composers are required to write in a variety of techniques, but according to Coleman, "We demand a personal focus (to the music)."
In the first two years of the major, composers meet in groups where they not only learn from each other but are able to get many attempts at one piece. "We teach expression, not academic music," Coleman said. This results in quick progress and a diversity of styles which was evident in the concert last night.
Double-degree senior Zach Layton's Rhizome opened with double-degree fifth-year Tim Ruedeman on alto-sax, and percussionists double-degree senior Chris Santiago and conservatory sophomore David Schotzko. The title is based on a reference to French Philosopher Gilles Deleuze comparing the multi-directional root growth of a Rhizome, a tuber, to the linear root growth of a tree. To make a generalization, the reference compares linear thought to "delirious" or "schizophrenic" thought (upon which this piece is based).
Rhizome was organized into blocks of time during which each performer was given specific indications of what to play, with certain variations in tempo left to the saxophone and variations in material left to each percussionist. "I wanted to create sort of a mobile effect," described Layton, "One in which timed blocks of material rotate in and out of focus relative to the audience." These ideas were well expressed in the performance as defined sections were present and initial material was repeated in different forms.
The percussionists played similar rhythms at different tempos providing a textural backdrop for the saxophone at alternating intervals. In certain parts it seemed that the percussion was a melodic focus but this was only, according to Layton, "incidental, because of the particular instruments used." Ruedeman, Santiago, and Schotzko gave a wonderfully textural performance.
Following was conservatory junior Eric Weg performing his own work "Jagged Dance," an idiomatic work for solo piano. This agreeable work of less than five minutes was an unadorned display of piano skill and technique.
No particular extramusical program was apparent nor was there any notable compositional technique evident, save a sound knowledge of performance experience with the instrument evident in the solidly technical performance.
In the same vein was conservatory first-year Christine McLeavey's pleasant and simple "Three Scenes for Piano," performed by the composer. Each movement was characterized by lyric ideas, indeed the work was a wholly melodic one.
The first scene consisted of short rounded phrase, the second a waltz, and the third a scherzo. The performance was lyric and concise.
Conservatory sophomore Rob Reich rounded out the program with a third composition for solo piano. On a purely surface level "Spring Tides" was an unassuming piano tune with short interjections prompted by a dialogue; a short reflection on changes and new experiences juxtaposed against the plodding regularity of everyday life.
The connection between text and music was clear and natural extension of the work's conception; inspired by ideas in experimental music, Reich applied certain elements of chance in order to create a mood of transparent expression. What we experienced was Reich's sincerely thoughtful voice in a brief, musical, and mindful reflection.
Conservatory junior Marcello Sanches performed the final piece, "Symbol for Solo Cello" composed by the inseparable and enigmatic pair of Pushkar and Sanches. A broad and lyrical first statement was modified in four or five sections utilizing various techniques. Disjunct skips to high harmonics gave the first variation a wheezy sound, while the second was more aggressive.
The third variation was muted and the fourth was characterized by violent outbursts. Returning in the final variation was the wheeze and the aggressive outbursts in a convincing performance by the co-composer.