classical music

A Conversation With Composer Alexandra du Bois,
Rendering the World’s Chaos, Beauty Into Sonic Storms

For the uninitiated, and perhaps even in the minds of some casual listeners, classical music might seem like the province of the dead and dying—music written by long-dead composers, enjoyed today by predominantly elderly listeners. I can understand, to some extent, why that misconception persists. Neither expert nor neophyte, I first fell in love with classical music a decade ago when introduced to Bach’s Unaccompanied Cello Suites. And as my interest in and passion for classical music has grown, so too has my iTunes library (or vice versa). That collection—as is probably the case for many typical fans of the genre—consists mostly of centuries-old giants: Bach and Haydn, Mozart and Beethoven, Mahler and Dvorák. These are also the names, among other similarly popular composers, that seem to be performed most regularly. I’ve had the opportunity to enjoy numerous concerts over the last several years, at venues ranging from Lincoln Center to a Savannah cathedral, standing out on each occasion for my lack of gray hair.

Alexandra du Bois shatters that stereotype of classical music, the notion that it’s old music for old people.

This under-30 New York City-based composer has already established a remarkably impressive résumé. A graduate of Indiana University’s Jacobs School of Music with a master’s degree in composition from The Juilliard School, du Bois has been commissioned by the likes of the Kronos Quartet and Menahem Pressler’s Beaux Arts Trio. She’s been praised (deservedly so) by Mark Swed of the Los Angeles Times, Alex Ross in the New Yorker, and a couple of New York  Times critics. She was even named as one of three “Faces to Watch in 2010” in the music category by the L.A. Times. The quality of Du Bois’s music is matched only by its quantity; her output already spans many forms, from solo works and sonatas to various trios, string quartets and orchestral works. Her compositions have been performed by world-class musicians at venues around the world: Alaska, New York, Vietnam, Los Angeles, Amsterdam, San Francisco, Australia, and many other cities across Europe and the U.S.

I discovered du Bois at the Savannah Music Festival in March of 2009—my first time attending the spectacular two-week event, which I had been looking forward to since moving here the previous summer. After purchasing tickets to more concerts than any financial advisor would have recommended, I knew I spent wisely following the first two nights: both chamber music concerts in the perfect chamber music setting (the rotunda at the Telfair Academy of Arts & Sciences in the historic district of downtown Savannah). The names on the programs those nights were fairly familiar: Beethoven, Schulhoff, Barber, Dvorák, Janácek, and Smetana. And I was hooked. So much so that upon leaving the Prazak Quartet’s performance Saturday evening, I opened my wallet and added another concert to the calendar—the next day.

Perhaps I was compelled to pull the trigger by the unfamiliar name of the composer that led the lineup for the Sunday afternoon performance, or the atypical year of birth that accompanied the composer’s name in the program, or the fact that this would be the world premier of the composer’s piece. Whatever the reason, I’m glad fate has its ways, I thought at the time, sitting a few rows from the stage as two violinists (the accomplished Daniel Hope and Lorenza Borrani, a young rising star from Italy) moved their way from opposite ends to meet in the middle, a palpable passion transmitted through their instruments. Perfectly suited to share the bill with Rachmaninoff and Schubert, the piece—titled Chanson d’orage (translated as Storm of Song) by Alexandra du Bois—was, simply put, captivating. Writing in Gramophone Magazine, critic Robert Hilferty said:

“The 10-minute folie a deux begins with the violin lines tightly intertwined. The instruments seamlessly switch roles as accompanist and melody-messenger. They frequently converge, wrestle, caress, capitulate. Entanglement is the name of the game, with moments of singing lyricism. It’s a virtue that du Bois’s music is simple without being simplistic, maintaining a buoyant intensity that doesn’t wear you out.”

Inspired by the sounds of nature and provoked by current events, du Bois’s music is perhaps best described as diverse—both sonically and emotionally. From the peace of a gentle ocean to the impassioned pleas of a peace movement, from the anticipation of an approaching storm to the discontent caused by an impending war, du Bois evokes scenes and sentiments in vivid, unexpected and provocative ways. Often allowing seeming contradictions to surface at various points in a single piece, her compositions consist of a wide range of qualities: lush but simple; soothing and haunting; raw yet delicate; heartbreaking but inspiring; frenetic and meditative; complex yet accessible. A couple of things are certain: du Bois’s music is consistently beautiful and speaks to all—regardless of age, young or old.

It is hard to imagine a scenario in which du Bois is not a household name in short order. Thankfully, more of du Bois’s work will soon be available to a wider audience, as she expects two pieces (including the aforementioned Chanson d’orage) to be recorded and released in the upcoming year. And luckily for Savannahians and others in the Southeast, du Bois will be returning to the Savannah Music Festival in 2012 with another world premiere.

Du Bois gracefully took time from her busy schedule to discuss numerous topics: her musical roots, sources of inspiration, her creative process, the future of classical music, the importance of arts and music education, some past highlights and future endeavors as a composer, and much more, sharing a few excerpts of her music* and a spectacular playlist of recommended listening with The Madness of Art. Read more…

“The important thing is never to let oneself be guided by the opinion of one’s contemporaries; to continue steadfastly on one’s way without letting oneself be either defeated by failure or diverted by applause.”
—Gustav Mahler

If you’ve ever been required to sit through a excruciatingly boring lecture by a self-important professor, it’s easy to understand why the mere mention of the word itself—lecture—might trigger a negative reaction, or even sheer terror. If you’ve ever been required to attend a mind-numbing, time-wasting conference by your employer, it’s easy to understand why the suggestion of attending such an event could cause unease, at the very least.

So when I stumbled upon TEDTalks a while ago, I was surprised by what I discovered: lectures that were intriguing, insightful and inspiring. Could this really be possible? These few clips must have been anomalies, I thought, rare standouts plucked from hundreds or more of the aforementioned variety. But over time, as I watched new and newly discovered selections, TEDTalks—videos of lectures given at annual conferences put on by TED (which stands for Technology, Entertainment, Design)—rarely failed to deliver, even when the subject matter seemed a bit outside my typical interest zone.

TED, a nonprofit, has a simple but noble mission: “Spreading ideas.” And it does so through a well-designed, fun-to-explore site (along with a YouTube presence). The themes of the engaging and thought-provoking talks are wide-ranging, from arts, culture and entertainment to technology, science and a host of global issues. The styles, backgrounds and expertise of the speakers are equally diverse. TEDTalks, as a result, is fairly addicting (and healthy) Internet fare, especially considering what’s on the rest of the menu.

With TED2010 only a few weeks away, The Madness of Art presents its Top 10 TEDTalks—most of which deal with the topic of creativity (in some way) and its powerful effects. So, in the spirit of TED, here are some ideas I thought were worth spreading. Read more…

“Music is enough for a lifetime, but a lifetime is not enough for music.”—Sergei Rachmaninov

Rob Gibson, executive and artistic director of the Savannah Music Festival, announced earlier this evening the lineup for the 2010 edition of the two-week, multi-venue musical celebration in March, and it’s arguably the most impressive, and diverse, roster of artists yet in the festival’s eight years.

After attending my first Savannah Music Festival last year—five concerts in about ten days (mostly of the classical music variety) that surpassed even my exceedingly high expectations—I didn’t think it could get much better. Until tonight’s lineup announcement, which will likely result in a severely depleted bank account by tomorrow afternoon (tickets go on sale Friday morning). But, as the 2009 experience demonstrated, it’s worth every penny. Read more…

‘classical music and me’

By Charles Bukowski
from The Last Night of the Earth Poems

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The Madness of Art presents Reading Buk—nightly readings of selected works of Charles Bukowski—as a special series during the month of April in celebration of National Poetry Month 2009.

Some suggestions to satisfy your reading and viewing appetite throughout the weekend…. Read more…

‘some notes on Bach and Haydn’

By Charles Bukowski
from What Matters Most is How Well You Walk Through the Fire

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

The Madness of Art presents Reading Buk—nightly readings of selected works of Charles Bukowski—as a special series during the month of April in celebration of National Poetry Month 2009. 

“I must despise the world which does not feel that music is a higher revelation than all wisdom and philosophy.”—Ludwig van Beethoven, who died on this day in 1827.