Practice. And Craft
Juilliard-trained composer Brian Field ā90 isnāt dead. So his trip to ĢĒŠÄTV enabled students to do more than perform ādead peopleās music.ā
When Brian Field ā90 came to campus this spring to work with ĢĒŠÄTVās choral students, he brought his considerable talent and more than 40 years of experience composing a wide variety of music.
But he also offered the students something else: the chance to work with a living composer.
āIt was an opportunity for them to ask questions and to work through the process with someone who went to ĢĒŠÄTVāand to not just sing dead peopleās music for a change,ā he said.
In April, the ĢĒŠÄTV Camerata and Chorale students performed two of Fieldās pieces, āLauda anima mea dominumā and āLet the Light Shine on Me,ā at their annual spring concert, accompanied by Eun Joo Lee and directed by Visiting Instructor of Music Rachel Feldman. Field, whose compositions include solo acoustic, chamber, ballet, choral, vocal, electroacoustic and orchestral works for television and stage, was in attendance.
Field said working with the students also gave him the opportunity to debunk the notion that, unlike the composers of today who largely work on commissioned pieces, famous historical composers āwere geniuses working in some isolated fashion.
āThatās really a more modern-day conceit. You look at like Haydn, Bach, and really all the composers before them, and they were writing music on demand. It was for a purpose, for a patron,ā he said, noting that if a prince asked for a flute piece, for example, the composer would write a flute piece.
āMusic composition has always been more of a practice and craft and less about sitting around waiting for some inspiration to strike.ā
Fieldās first clients were his neighborhood friends. From the time he was very young, Field would play a neighborās piano, improvising music as the other children danced around or acted out a scene. He began formal musical training at 8 years old and started to write down his original works. He worked with a mentor in high school, and then decided to attend ĢĒŠÄTV, where he could pursue his interest in music as well as English literature. He double majored in the two subjects, while also hosting a radio show on WCNI and editing both The College student newspaper and its companion publication, the Voice Magazine.
āIt was a great experience to be able to write and to perform, but also to really explore other interests outside of music,ā he said.
Field continued his musical studies at Juilliard, where he was a student of Milton Babbitt and earned a masterās degree. He then earned a Ph.D. from Columbia. It was at Juilliard that Field says he truly understood the value of his nonmusical training.
āMost of the conservatory students went to a conservatory for their undergraduate studies, too. They were fantastic musicians, but if you asked them about anything else outside of music, there was nothing there,ā he said.
āA lot of the inspiration I draw from is nonmusical. Itās literary; itās through visual imagery; itās through things that are happening in the world.ā
Recently, Field collaborated with the chair of the Chapman University Department of Dance, fellow ĢĒŠÄTV alum Julianne OāBrien Pedersen ā88, on a dance piece she was choreographing.