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OT: Composing (jara: My girlfriend is a conlanger!)

From:Jan van Steenbergen <ijzeren_jan@...>
Date:Friday, March 14, 2003, 19:33
 --- H. S. Teoh skrzypszy:

> writing orchestral music that I will probably never hear in my > lifetime[2],
Don't say that! Having your music performed is merely a matter of knowing the right people. Now, I am not pretending that I know them, but I have been asked at least twice if I had something for orchestra. Usually, I am quite suspicious against this kind of invitations from people who never ever heard anything I wrote. But anyway, in these two cases they might actually do it. The only problem is that I don't *want* to write for orchestra. And I don't consider myself ready for that.
> [2] Due to the fact that I didn't *know*[3] how to write orchestral music > to begin with! > > [3] But now I've actually gotten off my lazy butt and bought some books on > orchestral writing, so I'm now more likely to write performable pieces.[4] > :-P > > [4] Although that depends on one's perspective as to what is "performable" > ... I mean, if I write something that only professionals have any hope of > performing, and I am an unknown with no recognized portfolio, then it's > all moot. But that symphony orchestra in my head just refuses[5] to stop > playing!
To be honest, I am very curious about the music you write. Is it similarly "unearthy" as Ebisedian? Personally, I see a lot of stylistic correspondances between my music and my conlangs. Or maybe that's only in my head. Have you ever scanned pages? Or, if not, would you consider doing that? Did you also write for smaller ensembles or soloists? I know the portfolio problem very well. It is true: if you don't have the right piece of paper (as if a piece of paper, or its absence, could prove or disprove your artistic abilities!), it is a tough struggle you have to fight for every kind of recognition. But not impossible. Even among the famous composers of the past, there were amateurs, people without any serious kind of musical education. My opinion is that most of the things you learn at a conservatory (at least: in the field of composing) you can also learn without a conservatory, and even better! But the conservatory is not the place where you learn things; it is also the place where your career begins, where you meet those people who will "launch" you later for the first time. Without those people, often a tight knit in a closed circuit, it is very hard to achieve anything. But again: it is possible, it depends merely on the confidence that your music is good, and on convincing the right people of that. Jan ===== "Originality is the art of concealing your source." - Franklin P. Jones __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts


H. S. Teoh <hsteoh@...>