BCM International ~ View topic - Guest Composer David Holsinger, Sept. 11-17, 2006

Site Admin Joined: 26 Jan 2003 Posts: 58

ABOUT THE GUEST ARTIST:

David Holsinger was born in Hardin, Missouri, December 26, 1945. His compositions have won four major competitions, including a two time ABA Ostwald Award. His compositions have also been finalists in both the DeMoulin and Sudler competitions. He holds degrees from Central Methodist College, Fayette, Missouri, Central Missouri State University in Warrensburg, and the University of Kansas, Lawrence, where he received his DMA. The composer has been honored by Gustavus Adolphus College with the awarding of an Honorary Doctorate for lifetime achievement in composition and the Gustavus Fine Arts Medallion, the divisions highest honor, designed and sculpted by renowned artist, Paul Granlund. After 16 years of service to Shady Grove Church, Grand Prairie, Texas, as Composer-in-Residence, Holsinger and his wife, Winona, now call Cleveland, Tennessee home, where the composer serves as Director of the Lee University Wind Ensemble. From this beautiful area in the foothills of the Smoky Mountains, Holsinger continues to travel extensively as a conductor and clinician throughout the United States.

The Holsinger Website
The Holsinger Wikipedia entry

Before we begin this week's spotlight, I wanted to provide a more personalized introduction for David Holsinger. I first met him 20 years ago, while at junior high band camp at the University of Central Arkansas. I played Alto Sax in the band, and "Dr. Holsinger" was our guest clinician. I remember he had boundless energy and enthusiasm, and never got angry or intimidating with us, even though in retrospect, we probably mauled his new-at-the-time piece, Nilesdance. I remember we tried to take it at the proper tempo once, and from then on we did it at about half-tempo, including at the performance at the end of the week. Even so, it was still an exhilirating piece to play (he really knows how to give each player a part that is exciting and energetic, hard, but not too hard). Little did I understand at the time how excruciating it probably was for him to slog through it at the wrong tempo (something I understand all too well, now), but he never let let it show, and I'm grateful he didn't just cut the piece from the program. Here was some music that actually caught my ear, that had rhythmic vitality and an unpredictableness that I hadn't experienced in band before. I was fascinated by it, and it fed my own growing interest in composing, which would begin in earnest soon after this.

So, I want to offer a huge 'thank-you' to David for that week in Conway, Arkansas two decades ago, and for participating with us this week! It's a great honor to have you here!

I remember playing Nilesdance in my junior year of high school (and yes, we did it up to tempo or at least quite close to up to tempo). Everyone really liked it, I think - I remember walking down the halls between classes with several other members of the clarinet section and we'd be humming passages of it together and going over it in our heads. Later that year, Dr. Holsinger came to conduct the South Dakota All-State Band on their 50th anniversary, and although I was nowhere near skilled enough to play in an all-state band at the time, I persuaded my dad to drive me all the way up to Sioux Falls, SD (a nearly three hour drive) to see the concert. It was a great program and well worth the trip (for me, at least).

At this point, I have one question for Dr. Holsinger: About a year and a half ago, I ordered the score for Abram's Pursuit for my personal study. Looking over it, I found that at measure 102, a new scalar passage briefly pops up in the clarinets and then fades back into the woodwork, before returning for more extended development at measure 120. I noted that "120" is a rearranging of the numbers in "102," the last two digits being flipped around. Was this intentional? How much of a role do playful intellectual decisions like this play in your compositional process?

Thank you,
Robert D. Pore
_________________
"You can't impose divinity on a chord; a chord's divinity has to come from the inside out." - from the film "The Caveman's Valentine."

Joined: 11 Sep 2006 Posts: 1 Location: Northeast Ohio

First off, thanks to BCM International for hosting this most excellent forum!

I've enjoyed Holsinger's music since I played "Havendance" at an honors band in high school. Since then, I like to play Holsinger works at least every other year, especially to keep percussion busy (since there are always copious percussion parts in the music).

My question concerns "The Strongholds of En Gedi." There is a part in the percussion 1 part for an instrument called the "afro crusher." I have had no success online in finding out what this instrument is, and I would appreciate a clarification, since our band will be performing this at Severance Hall this year!

Any ideas/replies would be welcome.

Thanks,

Martin Witczak

Joined: 09 Nov 2003 Posts: 1955 Location: Oklahoma City

plinth, not to answer for Dr. Holsinger, but it is the first question he answers in his FAQs page on his website.

http://www.davidrholsinger.com

http://www.davidrholsinger.com/errata.htm (that's a directly link to the FAQ page)
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-Trevor

Joined: 29 Jan 2003 Posts: 621 Location: New York City

Sorry, everyone! We had some technical difficulties with Dr. Holsinger's account, which were totally and completely my fault. The good news is I think we worked them all out now, so he will be joining us to weigh in on everything, very soon.

David Holsinger, here.

Greetings from Lee University and Cleveland, Tennessee to all who are joining in this week’s round of festivities. I must admit, this is a new thing for me....at least, being the subject of the bloggers....

(Admittedly, I do take part in one blog on the internet and that’s in one of the many sites for LOST, the TV show. I’m hooked, what can I say?
And no, I never give my real name.....)

First of all, let’s get one thing straight.....I can’t simply remember every note I have ever put on paper, so when you ask about specifics, you may have to wait until I can find a score and look up the measures.

A lot of errata and things I’ve been asked about, however, do already appear on my website. There is an ERRATA/FAQ section at www.davidrholsinger.com that I attempt to keep pertinent information on that comes my way over and over.....such as Martin’s question about the “Afro Crasher”. I always keep THAT answer at the top of the page!!!

Presently, I’ve just published a new piece called DIVERTIMENTED DANCES and it utilizes a “Lion’s Roar” in the percussion section. I’m having my percussion section leader make one right now.....you can’t buy one, although I understand Weiss Music has one for rent, but it’s pretty beat up.....You have to make one. As soon as it’s done, we’ll post a picture and directions for construction on these FAQ PAGES. So keep that bookmark handy.

FIRST AND FOREMOST, thanks to the guys at BCM for the invitation to do this. I’m very impressed with these young men and the forward looking talent they have displayed in the composition world....and especially band music, my obvious first love. I’m honored that they considered me for the opening gambit here. I shall do my best not to disappoint them....Afterall, I have stand 8 feet away from them at the MidWest every December and it would be very embarrassing if I screwed this up too badly....!...

I admittedly was touched by Steven Bryant’s opening “salute”. I’m glad I was in “toadsuck” country that summer. (You’ll have to ask Steve what exactly THAT means.... )

So let’s start answering questions.....and since Martin’s “afro crasher” question got taken care by Trevor, my new personal assistant, let’s take a shot at Bob Pore’s question about “playful intellectual decisions”....

First, the instance that you refer to, Bob, was just an accident. However, occasionally, “accidents” like that are absolutely incredible. Several years ago I wrote a very large three movement work for band and chorus based on the Passion of Christ, THE EASTER SYMPHONY. It is a work that is almost 55 minutes long and terribly difficult. The first movement deals with Jesus’ entry into Jerusalem at Passover, the second deals with the betrayal by Judas and the Crucifixion and the third is entitled SYMPHONIA RESSURECTUS - Songs of Resurrection. The third movement starts with “battle music” indicating the forces of heaven and hell battling following the crucifixion and lead eventually to a large choral hymn entitled LORD OF GLORY - in fact, it is the first time in over 45 minutes that the music is in any way considered in the grand vocal tradition. It is, for all extents and purposes, THE “God Music” and highest emotional point in the entire symphony . . . . and the first note of the “God Music” occurs on measure . . “666” . . !?!....

Reviewers, educators, theorists, theologians jump on this moment as one where the composer “stepped on the back of the serpent”....knowing that it was THE PLAN from the beginning.

It was an accident. (Perhaps a “inspired” accident, but nevertheless.....)
It wasn’t planned.

I have always been a very intuitive composer. I have always just known when the timing is correct or a little off. (This can be a curse and a blessing...) I think I probably discussed this at length in the chapter I wrote for the GIA Book, COMPOSERS ON COMPOSING FOR BAND, several years ago. Everybody should read that book and its new companion, Volume II. It’s really very interesting reading the insights written by the composers themselves. I learned a lot about some of my comtemporaries. It was a delightful read.

Anyway, about the “God Music”......I just knew it was time.

ON THE OTHER HAND, I am not above silliness in my music. In fact, I love a musical joke occasionally. In the DIVERTIMENTED DANCES that I spoke of earlier, the first movement is a promenade.

The sixth movement in entitled “Edanemorp 180 Degrees”. That’s right, it’s the promenade upside down and backwards. Literally.

I look forward to answering what I can for any of you this week. As Trevor, my new personal assistant has mentioned, I do have a website that has a bunch of infomation. (Admittedly, I have a son who’s a bit concerned that there are more pages about model trains than music....but what does he know? He’s such a philosophic pragmaticist.)

And I’m just a composer-guy.

Looking forward to the week. Blessings, HOLSINGER

Joined: 29 Jan 2003 Posts: 621 Location: New York City

I'm thrilled that this is getting going! "Toadsuck", Steve? Maybe I'll start another thread for that, sounds promising... Wink

Now it's my turn for a question for Dr. Holsinger: David, I'm curious about your writing process. I know it's probably hard to describe (it is for me), but how does it usually go for you? How do you go about developing your ideas -- sketches? improvisation? long walks?

And I know it's likely different every time, but do you have a process for moving those general ideas into specific notation? Like translating sketches to short score or piano reduction as a next step or something? Direct to full score? I'm always fascinated with composers' different writing processes...

Jonathan Newman’s question can probably be best answered if I excerpt a section of that book I mentioned in an earlier imprint. One of the issues that each of us in that book assignment were asked to talk about was our writing procedure. Here’s what I wrote then. (I may add to it at the end.)

(EXCERPTED)

As a “maturing” composer, I realize that “personal emotion” is a primal factor in my output. I easily “wear my heart on my sleeve”, compose music that is experience motivated, and make no apologies for compositions that are written, expressly, to be “in your face.” I wish I was a glib and inspiring wordsmith, but I'm not. I speak best with music. I'm just a composer guy.

I don't produce a lot of music in a year. It's not that I'm a slow and meticulous composer, but rather, my output is a direct product of my lifestyle. I accept only three or four commissions a year, because I have only the months of July through December in which to write. Somewhere along the way, 12 or so years ago, I was invited to guest conduct an All-State Band. Up until that invitation, I had perhaps conducted a half dozen regional and local bands in the Dallas-Ft. Worth area. I'm not sure how it happened to this day, but suddenly I was considered a fairly adequate conductor/motivator. This newfound career became disproportionally time-consuming. From January to June, I find myself on the road Thursday thru Sunday conducting, Monday thru Wednesday I am teaching at the university. All the other days I like to spend time with my wife and family. Do you see the math problem here?

As with that very first composition written over spring break of 1966, some things have not changed. I am basically a “binge” composer. Whereas many composers set aside that special time of the day when they are most apt to feel the muse rising, I, on the other hand, grab any chance I can get and then “go around the clock.” Music is easy. When it's there, it simply pours out. This is not to say that I don't have a “process”. I do. But I have also always had a good intuition about the movement of music. In fact, that intuition was probably the greatest detriment to my composition study as a young man. Many times, to the consternation of my teachers, I tended to leap over the process and depend on my intuitive gifting to complete the work. Basically I had the ability to make my music sound like, say Stravinsky, without really understanding the specific principle or craft of composition that Stravinsky represented at any given juncture of his career. I could imitate, without being able to offer explanation. Why some of my teachers just didn't kill me on the spot still begs explanation!

So what is my process? At its inception, it is a “visual” process. I need a “picture” to paint. This explains why I write very little absolute music, but rather find myself exploring “story” music; writing compositions that depend on “word painting” even when no text appears in the finished product. I need a title before beginning a piece. I knew the story line for To Tame the Perilous Skies for weeks. It was intended to be a composition celebrating the 50th anniversary of the Battle of Britain, but until the actual title was birthed, no note was put on the page. Silly quirk.

I wised up about studying the compositional process and using the intuitive gift to my advantage. Consider again, Stravinsky. Here was a man who never settled for the “status quo.” He is an example to my students of a composer who watched and examined as the winds of change blew through a half century of compositional exploration. He carved, he dissected, he pulled aspects from each “process” that sped by, and he put them in his own personal compositional toolbox. And then, after they all rattled around for a time, he pulled them out, he molded them to his specific compositional genius, and suddenly his music was old and new at the same time. The label may have said “atonal”, but the flavor was Stravinsky. The process might be “serial”, but the essence was first and foremost “Stravinsky”!

I, as a student of composition, learned an important lesson studying the result of that evolution. I believe, over the past 20 years, I have managed to combine chosen concepts of the craft of composition with the limitlessness of intuition and establish a “style” of writing that fits my personal perspective of what music should be.

I compose at the piano, at the keyboard and at the computer. My writing, for the most part, although tonal, is very linearly defined.

I have had two great teachers of composition. I say “great” not because they were world renowned, but rather because they were EXACTLY the teacher I needed at the time I studied with each of them. The first was a man named Donald Bohlen, a student of Ross Lee Finney at Michigan, and at the time I met him, a “die hard” serialist! He was my composition instructor at Central Missouri State. To say that we were at opposite poles of the musical spectrum would be grossly understating the case. I learned more from this man in nine months than I had in the previous four years of college! He opened my ears and eyes to a 20th century of new sounds and compositional methods I had no idea even existed, much less an understanding of how they worked.

[Donald Bohlen's influence is directly responsible for my becoming more aware of the linear rather than a vertical dimension of composition.]

The second great teacher I had was Charles Hoag, Professor of Composition at the University of Kansas. From Donald Bohlen and Charles Hoag I learned that, regardless of the process I choose to utilize in my composition, that process must be DEFENDABLE. At any given point, one must be able to identify and trace the development of any single idea or flow of idea, but from Charles Hoag, I learned a very special lesson. Hoag taught me that I need not be ashamed of the choices I make. We are all bits and pieces of every composer, teacher, mentor and musician with which we have associated. However, we do not need to be carbon copies of anyone. No matter what the process we choose, whether we are conservative, radical, or somewhere in between, it is OK to have a PERSONAL voice in the process. I am aware that even if I chose to compose in the most mathematically intricate synthesis dealing with structure, pitch density, registral display and timbrel selection, that I would also be cognizant that it was a “personal” decision and it was MY voice that said, “I have decided this is the way it is going to be....”

Back to more practical matters.

Basically, yes, I always write to a “piano score”. I don’t orchestrate while I’m writing. I want to make sure that I am “OK” with the notes first. When the notes and all that go with them are “right”, then I can place the music on the instrumental palette.

This “scoring oddity” of mine has created at least one humorous moment. Once, while visiting Francis McBeth at his home, we were setting around the front room sharing stories. Dr. McBeth begin to recount an incident with his composition class. He went on describing how many of his young composers insisted on waiting until their pieces were completed before even considering writing percussion into the score.

“David,” he said to me, “I told them how foolish that was....I said, only BAD COMPOSERS would do such a thing!”

You know what's coming, don't you? For a split-second, I believe, FrancIs McBeth was almost speechless, as I indicated that that was exactly the process I utilized in my own work.

Again, however, my percussion scoring is a direct product of my compositional process. I write many linear lines containing diverse rhythmic elements, all which run somewhat amuck, but fortunately in the same direction most of the time. I need to “live” with the density of this rhythmic collage in order to really understand what the percussion underpinning of the music should be. Before moving to the computer age, there were times when I had inked the score and copied all the parts before I was ready to add that final layer of percussion to the fabric of the composition.

And lastly, for the time being , on this subject:

I have used Finale Software, MAC version, for a long time. My serial number is VERY small. When I started using the software package, the manuals weighed 14 pounds! The screen on my original Macintosh Classic was only about six inches square. (I spent more time waiting for “redraw” than breathing.) I probably only use 60% of the software's capabilities, but what I do use, I use very well!

Just call me “Mr. Computer Whiz.”

Working the DVD in the den is still a mystery.

HOLSINGER

Joined: 29 Jan 2003 Posts: 621 Location: New York City

Now that is fascinating ... I'm actually stuck on that percussion-scoring tidbit. I've heard of this before ... while copying Bob Beaser's opera years ago, it slipped out that he fills in the percussion absolutely last ... he was orchestrating the whole opera out, leaving all the percussion blank. It was the first I'd heard of such a process, and I admit, at the time I was baffled...

Your post explains this approach for me, though. I totally get having to "live with the density of this rhythmic collage" before seeing how the percussion would pan out. Putting it like that, I can understand approaching orchestration (especially of densely-rhythmic music) that way. Interesting! You've actually answered a long-time head-scratcher for me there...

I'm also intrigued by your need to settle on a title before writing ... I'm guessing we'll find some agreement on that from composers in this forum. I generally have the same issue...even if the piece is more "absolute" than "programmed", a title, or at least a few titling options, really helps things along.

Have you ever found a title hindered the process? In other words, you've titled your project, and then worked on the piece, and then realized that the piece was going a different direction from the world your title/theme creates, once you started writing it out? Or is it that much of the "composition" (structure, pacing, harmonic language) actually happens before you title, and the rest is simply notes...

I have a few minutes between my classes this afternoon, so since it appears that this is a one-on-one buddy-buddy with just Jonathan and me right now, let me answer his question:

No.

( . . . !?! . . )

The fact is, I work soooo hard on finding the right title, that once it’s decided on, it’s a total “Go” from that point on. Of course, I have to IDENTIFY with the title. That’s obvious, I think. I write about family members and events, people I know, history stories I love, Bible stories....Each is personal to me in some way.

I’m also very visual in my thinking. I “think” in pictures. I always have. Therefore, as one magazine writer in Germany put it, I compose movie music for “brain-movies”.

I don’t necessarily write “tone poems” however......sometimes the picture in my mind is simply a catalyst for a “style” of piece. IN THE SPRING AT THE TIME WHEN KINGS GO OFF TO WAR is based on three lines in I Chronicles, but it is not written to actually represent chronological order . . . it’s simply a representation of a WHOLE event, if that makes any sense.

I understand that Debussy didn’t like to title his works. In fact, the publishers made him put titles on most of his piano works. To show his disdain, he often put the title at the bottom of the page.

Mine will always have a title front and center. I think it also helps the listener get a “headstart” on imagining what the music is about.

Hey David - thanks so much for taking the time to answer these questions so thoughtfully. It is really great reading, and I'm looking forward to watching this thread the rest of the week.

I was hoping you might talk about your more eclectic percussion choices -- your penchant for unique percussion instruments and sounds. I noticed in the FAQ/Errata section of your website that you detail several unique instruments, some that are better found at a hardware store than at a music store! Do you recognize where this interest began? Do you hear these sounds in your mind's ear first, then try to find them (and end up at Home Depot)? Do you remember these sounds from extra-musical experiences, and then encorporate them into the music? Is it simply experimentation/ exploration/ trial and error? Do you hope to popularize some of these sounds/ instruments with your music, or do you prefer the unique "signature" these instruments give to your work(s)?

Or am I probing far too deeply, and it's just flat-out fun to bang on loud, metal stuff?

Thanks again for being here with us!

I have a couple more questions now (you don't have to answer all of them at once if you're pressed for time):

1. How has being a frequent guest conductor impacted your compositions and your process (aside from the obvious practicalities you mention above)? Has it changed the way you perceive music?

2. I have noticed in several of your scores (notably The War Trilogy: 1971 and Nilesdance) tutti sections where the oboes are not playing even though everyone else is. In such instances, what sort of differences do you feel come from not including the oboes?

As a sort of sidenote here, I have to say that, whatever others may think, I admire your orchestration - there are numerous things you do in some of your scores that absolutely fascinate me and I would like to take this opportunity to thank you for them.
_________________
"You can't impose divinity on a chord; a chord's divinity has to come from the inside out." - from the film "The Caveman's Valentine."

Joined: 11 Aug 2006 Posts: 2 Location: San DIego, CA

Mr. Holsinger,

I have two questions:

1. Have you ever been in the process of writing and right at the beginning or middle of the piece you get stuck (composer's cramp)? If so, how do *you* deal with it?

2. What was your inspiration for Liturgical Dances and what was the process of writing the piece (thoughts, difficulties, etc.)
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"Never compose anything unless the not composing of it becomes a positive nusiance to you."
-Gustav Holst