The value of time, i.e., patience, is the secret key to understanding any Universal Mystery. As many of the ancient neophytes have related, the true Mysteries are enshrouded in arcane symbolism and esoteric riddles, to which there is one key to understanding, one key to decode their cypher — a key that is (if not symbolically) lost forever.
Time, in my opinion, is one of the greatest media for at least emulating that key and allowing life to return to you its own fruitful rewards. Given time to develop, given time to mature, given the accumulation of experience over time and the greatest amount of effort put forth across a span of time, without regard to its passage.
How does this relate to music? Time, and patience, when coupled with the most carefully regulated degree of tenacity allow people to come to understand one's music. First the composer's vocabulary is established, then an understanding matures of the composer's ability to mold, transform and adjust his vocabulary to suit the needs or restraints of varying degrees of ensemble. Indeed, music and its notation (as a friend once pointed out to me) are the visual representation of the passage of time itself.
Writing music takes time. Understanding, appreciating and hearing the profundity of a great work of art takes time to cultivate. Just as cutting corners and stunting [personal] development leads to instant gratification in deceiving the passage of time — knowledge and understanding should be questioned in a person who enjoys or is satisfied without effort anything considered art after only their first experience with it. In this way, a work of art should be viewed all the more critically in proportion to the amount of effort and therefore time put into its creation.
So what the hell am I talking about? Well, I am in sort of a celestial mood this morning as I sit down to complete my setting of Hodie Christus Natus Est for choir and full orchestra. In a fit of excitement, I have nearly finished the entire work in full score in the span of three days. Enough time put into it to yield a satisfactory product? Only time will tell, not to mention the success of the performance. Time, however, has been my ally in what brought about the possibility of this work as my latest triumph comes once again from the wonderful Robert Page who has come to know and show interest in my music over the past ten years.
This past Friday, I sat down in his office to discuss my latest work for a cappella choir — the "Coptic Hymn" — delivered dutifully to John Goldsmith for the Heinz Chapel Choir's Christmas Concert. Riding Dr. Page's positive reaction to the work, I proposed writing a short piece (about 5 minutes) for full orchestra and chorus for Carnegie Mellon's Holiday Concert. He accepted.
The most exciting detail for me is this will be the second work in one week to be premiered (by two different ensembles) and broadcast live on PBS (Pittsburgh's WQED, which has brought us, among other things, the first live television broadcast into a classroom [in 1955] and Mister Rogers' Neighborhood). That said, Dr. Page's acceptance of my proposal has also given me an opportunity to write for orchestra and be ensured two orchestral premieres within three months, as my official orchestra piece (a requirement for both undergrads and graduate students at CMU) will be premiered, myself conducting, on March 4, 2009.
More details to follow.
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