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My new oratorio "Every Matter Under Heaven" is a work that I have spent the last three years preparing for release. All during the research for the libretto and continuing throughout the early phases of the compositional process I had an image of the desired outcome for the work that I could only hope was achievable. Now that even the DVD Symphonic Film of the oratorio is in post-production I can confidently say that this work has surpassed even my most ambitious plans and expectations. For me, it has been worth the wait. The making of the symphonic film of "Every Matter Under Heaven" was a journey in and of itself. Clay Powers and I have been working on such projects/films for over a decade now and we are no strangers to the genre. This time however, we entered into an entirely new production domain and were exploring techniques that we had never worked with before. Clay and I took hold of the "found object" method and began looking at historical and period short films that dealt with the same or opposing subject matter that had been used in the libretto. We all know that compelling and theatrical plot development can be assisted by satire, parody, and historic portrayals of the same; even if the subject matter at hand is not normally pondered through the eyes of one's opposition. However, in my opinion there is nothing worse than hearing from someone who knows all the answers or someone that has a mono-dimensional view of life. Therefore, knowing this we felt that "Every Matter Under Heaven" would be best served if we did not always allow for the libretto to be unchallenged by the film that has become its choreographical equal. The 5.1 surround recording and the DVD symphonic film of "Every Matter Under Heaven" is starting its own journey now. Never before in my experience have people been so up front about their reactions to a new work of mine. I wish I could share what I have heard so far but I don't wish to color your thoughts. March 30, 2005 ... It Is Time to Start contributing to the words about music. My thoughts and feelings are normally best put to use in the actual language and practice of music and music making, but I feel that the evolutionary clock has closed the door on the decades long preeminence of extreme musical literacy i. e. modernism, serialism, etc. This being said, it is time to speak out. Several 'isms" have come and gone over the past half century and even more are developing. A new generation of ideas and priorities is emerging and I am glad to be a part of the process; though I refuse to call it progress. It would not be wise to repeat the totalitarian claims of the last 50 plus years. Claims that this or that technique is the only true validator of artistic relevance for music and for the creative musician. Incalculable artistic effort has been wasted by willfully participating in the folly of trend. The fallacy that one's ultimate and transcendent freedom can only be realized through strict observance of predetermined systems is in hind sight illogical and blatantly contradictory. The 'expiration-date-in-denial" crowd motivates the unknowing - (students) - into blind obedience - (most post graduate degree programs) - advocating their adherence to preexisting criteria that can be easily refuted by the next 'endangered species" music maker. It is time for new music. |
  
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