Igor Marques
BM Music Composition
This experience encapsulates three of the best days I’ve ever lived. The high altitude filled my lungs with a thinner air, which was already hard to catch given the surrounding breath-taking mountains. Food was bounteous and surpassed the highest standards of my taste. The accommodations were comfortable, welcoming, and made judging a little easier to process, providing a discreet background. I couldn’t forget to mention my fellow interns: we supported each other and were amazed at how impressive everything was.
Impressive seems to me the word to describe it most suitably. Everything sit down, every chat, every listen, every joke or witty comment, every argument in favor or against, everything left a strong impression in my mind. I heard music more clearly with these people. I wasn’t able to always follow their line of thought, but I learned a great deal about how to listen to music. It helped sharpen my composition skills, because I became more aware of what the experts notice and value in a well-constructed piece. I couldn't wait to start applying all those things into my own compositions, in such a way that I took every available break in our work routine there to dissect the learning into notes and musical concepts.
It's been a week now that I the judging first began. My desire to produce good music has been boosted. In an attempt to be more worthy of the privilege of having been a Barlow intern, I've sat down many times at the piano with paper and pencil at hand. Sometimes I sat at a computer, and some other times I would just go outside and ponder under the warm rays of August and the calid western wind. It's been much harder than I thought: I had been exposed to so much good music, and such brilliant musicians, that I thought it would translate very organically into my work. And it will, probably. It's just a slow process. However, the impressions remain as strong, as indelible as ever. Being a Barlow intern has imbued my soul with this, the notion that it's worth making music, making excellent music; there are people that appreciate it and reward it; and I can be a part of it all. Thank you, Barlow Endowment, for this life-changing experience you have let me board in.
Esther Megargel
MM Music Composition
Being an intern during the three days of deliberations for the Barlow Prize and
Commissions was a very rewarding experience for me. I had the opportunity to listen to
excerpts from new works submitted by composers from all over the world, and in a
variety of genres. I was impressed by the skill and dedication of the judges, who brought
their unique perspectives to the table yet came to a consensus upon the most
important criteria for a winner. I listened carefully to each of their comments. They
showed an excellent grasp of the totality of a piece (pacing, climactic moments,
emotional content), and attention to smaller details (instrumental possibilities,
articulations, layering of sounds, etc.).
I have learned that I need to increase my critical
listening skills in exploring the works of other composers and in evaluating my own
compositions. I have also gained a good idea of what judges are looking for in a
composition contest. Good beginnings are extremely important, as there is only time to
listen to a few minutes of a piece. There needs to be a golden balance between
repetition and contrast. There needs to be something that grabs the listener, such as an
unexpected turn of musical events, or an unusual combination of instruments. The
physical score needs to be of the highest graphic and notational quality. The recording,
especially, needs to be a stunning rendition by well qualified performers. MIDI
recordings are frowned upon. It helps to have the track numbers clearly delineated on
both the CD and the jacket. Very large sections should be broken down into smaller
tracks for ease of location.
I felt that the selection of judges was excellent. The inclusion of several performers in the discussions helped the group to focus on the realities of actual presentation, and to emphasize the importance of a good working relationship between composer and performer. My experience as an intern will surely affect my future composing. I cannot help but benefit from an atmosphere in which imagination and creativity were considered the highest priorities for determining a winner. It was a privilege to be selected as an intern and to work in the beautiful setting of Snowbird. Thank you for giving me the opportunity to serve in this capacity.
Kyle Shaw
MM Music Composition
Working as an intern for the Barlow Endowment this summer will undoubtedly continue to be an invaluable experience, as it has already done in my life as a composer. In preparation for the upcoming meetings, I spent time early this summer with the other interns sorting, organizing, and processing all of the applications mailed in to the Barlow from all over the world. During the first week of August, I was privileged to retreat to a beautiful resort with the Barlow’s distinguished board of advisers and other highly estimable guest judges. As interns, [we] had the privilege of observing the judging process and the comments made by reputable composers and performers as they critiqued the music and portfolios of the Barlow’s many applicants. In an effort to increase the efficiency of the process, we handed the judges each application and operated the audio system while they listened to excerpts of each submitted work.
While I am sure that my experience as an intern with the Barlow influenced me in more ways than I am able to acknowledge, I can organize the things I learned into two general categories: I gained a firmer understanding of current merit-worthy characteristics, and [I learned] the faux pas of both how composers write music and how they present themselves via portfolio in the modern classical music world.
The pieces that most impressed the judges avoided traditional rhythmic structures, and yet each of these pieces had a very clear sense of arch, shape and form. The strongest musical ideas were focused and did not wander, and the ablest composers knew how to properly pace their presentation of these ideas. On more than one occasion, the performer-judges commented on how the weaker compositions, when played correctly, made the performers look and sound like they were messing up—certainly an aspect of writing music that composers should be cognizant of.
Some composers shot themselves in the foot when they compiled their application portfolio. Sending in an unlabeled CD without multiple tracks, failing to demonstrate that they can competently write for the proposed medium, being excessive and verbose in Bios/CVs—we encountered all of these features more than once in reviewing the applications. While they did not decide the commission recipients, these problems certainly worked against some applicants. Conversely, some of the most beautifully published, manicured portfolios contained some of the most mediocre music that the judges encountered all week. Good presentation cannot make up for lack of musical and compositional strength.
I am honored beyond measure to have participated in the wonderful work of the Barlow Endowment. It has truly been a privilege to have interacted with top-notch composers and performers who are also top-quality people.
Michael Wahlquist
BM Music Composition
My experience this summer as an intern for the Barlow Endowment was magnificent and eye-opening in every way. It was a beautiful thing to see an organization provide such real support for new music. All of the judges are top-notch composers and performers. It was a privilege working and interacting with them. Watching the judges carefully select the best entries to the competition was very revealing for me as a young composer. Hearing their comments and critiques of the submitted works was one of the most valuable 'master-class' experiences I've had. Seeing so many pieces of new music back to back made it very clear what some of the current major trends in music are. It was also clear which pieces rose to the top in terms of craftsmanship and creativity. There were many very good works submitted, but just a few really broke free from the crowd to be truly outstanding. This gave me some wonderful insights into what it takes to make really good music. I was delighted to discover some wonderful new composers and their music. Now more than ever I feel confident in my future as a composer, aware that there is a large network of composers, musicians and many other supporters of new music. Perhaps the best thing is that I feel inspired that I too could be a serious contender in such contests, if I apply what I've learned.
Another valuable side of working with the Barlow Endowment has to do with the practical side of applying for a composition contest. It was invaluable for me to have a glimpse at the inside processes of such a competition. As we processed the various applications early this summer, and later facilitated their judging at the resort, it was evident that some applications were well presented while others were very sloppy. Presentation matters; a neatly notated and bound score, a working recording with clearly marked tracks on both the disk and the CD case, important excerpts from the piece clearly marked on the scores and recordings.
This experience has helped me to be a better composer and prepare for my planned career as a composer and educator.