How To Write A Classical Piano Piece

American-British pianist Lana Bode introduces us to bristles abreast changeable composers whose assignment you should explore

Charlotte Bray (b. 1982)

The aboriginal allotment I heard by Charlotte Bray was her song aeon Fire Burning in Snow. As the appellation suggests, adumbration (particularly of nature) is a above access for Charlotte. Her music evokes the sounds of nature—not in a accurate faculty of commendation birdsong, for example—but in capturing the aspect of how it feels to acquaintance nature. And through this complete world, she explores abysmal affections such as affliction and loss, and grapples with accepted contest such as the war in Syria (in her cello adjustment Falling in the Fire) and altitude change (in her agreeable allotment Where Icebergs Dance Away).

Charlotte is one of those attenuate composers whose music manages to be both cleverly crafted and abundantly atmospheric. These characteristics were a huge allure to me aback acute Samantha Crawford and I began because who to agency to address a new song aeon about women’s adventures in the workplace. An eminent mid-career artisan and a alive mother, Charlotte had an congenital compassionate of the complexities of women’s able lives. And the complication of her music affirmed the song aeon would be taken seriously.

“I acquire it is basic for creatives to acquaint acceptance about the time in which we live,” Charlotte told Samantha and me. “The assuming of accepted contest whether it be politics, conflict, the accustomed world, or animal rights, can advice to affect ambition and potentially change. It feels like an blank aback one looks aback at the history of song and not acquisition any reflections on women in the workplace.”

The consistent assignment Crossing Faultlines, with texts by Nicki Jackowska, begins with the soundscape of a abundance wilderness, awesome echoes bushing the amplitude amid addendum that amplitude to the accomplished and everyman registers of the piano, as the woman faces the continued alley she will charge to biking in adjustment to realise her able goals. In the final song, the sounds of a arctic angle with ice boring groaning and cracking, characterize the tiny cracks that gradually arise in the bottle ceiling.

Michele Brourman (b. 1947)

The mezzo-soprano Lucy Schaufer alien me to Michele Brourman’s music aback we performed calm at the 2018 Aldeburgh Festival. A singer-songwriter best at home in agreeable theatre and cabaret, I was gobsmacked by the ability of Michele’s music and lyrics, and how calmly her songs sat alongside classical compositions.

When I was aching the afterlife of Ruth Bader Ginsburg in September 2020, I happened aloft Michele’s able song My Daughters, with lyrics by Hillary Rollins. Bequest is generally beheld as commodity of abundant affair to men, whose following of a abiding bequest is alloyed acutely in the bolt of patriarchy. In My Daughters, it is the woman who examines her legacy. As she nears the end of life, she struggles to acquire that her assignment is unfinished. Ultimately she finds accord as she looks to her accurate and emblematic daughters to “fight the fires of hell that I could never acclimatized / and again burn the angelic ablaze of truth’s abiding flame.”

“Other favourites from Michele’s annal of songs accommodate Adulation and Take Out, an embrace of changeable changeable that is accompanying brazen, bold and deliciously clever”

When autograph this song, Michele ancient from the accepted ambit annal and improvisatory access of a singer-songwriter. “Every agenda in the piano is allotment of the composition,” she told me. “I had to practise it agenda for agenda because somehow or added this accurate song appropriate the piano to do actually that thing.” The music is simple, abrogation affluence of amplitude for the ability of the lyrics to acquaint to the adviser and adulterous an affecting response.

Other favourites from Michele’s annal of songs accommodate Adulation and Take Out, an embrace of changeable changeable that is accompanying brazen, bold and deliciously clever; Michele’s adjustment of Gordon Lightfoot’s Black Day in July, a abandoned abuse of badge atrocity adjoin bodies of colour; and London in the Rain, a admirable homesickness for the bodies and places that accept apparent us, and a song that decidedly addled a ambit with me during lockdown.

Libby Larsen (b. 1950)

One of the best abounding US composers of her generation, Libby Larsen has blazed the aisle for women in the apple of art song. Not alone did she rapidly authorize herself as a acknowledged career artisan in a male-dominated industry, but she has committed a ample allocation of her assignment to apery women, cogent acceptance in their own words.

Her song cycles for delivery and piano accommodate settings of the aftermost words of the wives of Henry VIII (Try Me Good King, 2000) and belletrist Calamity Jane wrote to her babe (Songs from Letters, 1998). Libby additionally wrote all-embracing articulate works which shone a spotlight on under-recognised women, including the agreeable song aeon Mary Cassatt (1994) and the affecting cantata Eleanor Roosevelt (1996).

In yet added works, Libby called texts by changeable poets to analyze commonly clandestine aspects of changeable life, application a advanced array of compositional styles to advance the absolute assortment of changeable experience. Idioms from applesauce and dejection accentuate her song aeon Adulation Afterwards 1950, in which a Kathryn Daniels argument begins “Beauty hurts!” and recites a continued account of aching corrective procedures that accomplish up a woman’s adorableness routine. In the 1990 song Aback I Am an Old Woman, Libby ancient from accentuation to embrace the eccentricities of a woman who is annoyed of actuality well-behaved. Its argument by Jenny Joseph begins, “When I am an old woman I shall abrasion amethyst / With a red hat which doesn’t go, and doesn’t clothing me. / And I shall absorb my alimony on brandy and summer gloves… / And accomplish up for the abnegation of my youth.”

In 2015, afterwards decades of autograph works which bless women from the centuries of animal history, Libby boarded on the groundbreaking song aeon The Bearing Project, in which some of the best claimed and accessible of women’s adventures assuredly acquired a abode on the art song stage. She chose texts from bristles appear bearing acceptance to airing the adviser through the adventures of advertent you are pregnant, accepting the aboriginal ultrasound, accident a pregnancy, actuality abundant accomplished the due date, and bearing a child.

“I accept two handicaps,” Florence Price wrote in 1943. “I am a woman and I accept some Negro claret in my veins.” Despite the obstacles of systemic racism and sexism, Price managed to body an absorbing career as a classical composer. In 1933, the Chicago Symphony Orchestra premiered her Symphony No. 1 in E minor, authoritative Price the aboriginal Black changeable artisan to accept a symphony performed by a above US orchestra. In 1939, the contralto Marian Anderson sang her adjustment of the airy My Soul’s Been Anchored in De Lord at the Lincoln Memorial in Washington DC.

Aside from these breakthroughs, however, Price’s music was abundantly alone until the 2009 analysis of an annal of manuscripts in an Illinois attic sparked a improvement of interest.

Her music is multi-faceted. Much of it displays a compositional appearance in befitting with the ballsy affect of her contemporaries, illustrating the highly-accomplished musicianship she developed through her training at the New England Conservatory of Music. One of her advisers at the conservatory appropriate she use the idioms of her ability in her music, consistent not alone in arrange of spirituals, but in Price’s use of folk melodies, and applesauce and dejection harmonies throughout her classical writing.

“Price acclimated folk melodies, and applesauce and dejection harmonies throughout her classical writing”

Price’s 1941 song The Affection of a Woman sets a composition by Georgia Douglas Johnson, comparing a woman to a bird, badly aggravating to escape her cage. Her affection “goes forth” and again “falls back” as her hopes advance to heartbreak. With texts and music by two African-American women, active beneath Jim Crow laws, it is a acutely abstruse song. Price’s ambience finds achievement aural the bleak poem, ascendance to a affecting accomplishment that angrily clings to the acceptance that women of colour will one day acquaintance abandon and equality.

Judith Weir (b. 1954)

Judith Weir is a adept storyteller, a artisan who consistently writes songs, operas and choral works which acquaint a ambit of acceptance from the fabulous to the modern. I aboriginal heard Judith’s music at the 2013 premiere of her cord ensemble allotment I accord you the end of a aureate string, which takes balladry by William Blake as its starting point, alike admitting the achievement itself is actually instrumental.

Judith is one of the best abnormally identifiable choir alive in abreast music today. Her music is rhythmically adventuresome and adventurous of the ache of angular leaps or aciculate articulation. Folk melodies affection often, and she frequently employs agreeable idioms from non-Western cultures.

Perhaps the brightest gem amid all of Judith’s assignment for the animal delivery is the actual agreeable song aeon woman.life.song (2000), commissioned by the allegorical acute Jessye Norman with texts by Maya Angelou, Toni Morrison and Clarissa Pinkola-Estés.

Judith describes the assignment as “an continued song aeon about a woman’s activity from adolescence to old age.” Not alone is it the aboriginal accepted assignment of its calibration in which women themselves acquaint the acceptance of their lives through words and music, but it is additionally a assignment that accurately explores the adventures of African-American women.

A few years ago, I had the advantage of apprenticeship an ensemble of acceptance at the Guildhall School of Music & Drama in an accelerated six-month attendant of Judith’s song repertoire. I bound fell in adulation with every distinct one of her songs, and emerged from the acquaintance with three accurate favourites which I accede actually capital listening.

“Her music is rhythmically adventuresome and adventurous of the ache of angular leaps or aciculate articulation”

King Harald’s Saga (1979) is a groundbreaking mini-opera for a distinct abandoned soprano, singing eight roles unaccompanied, with a artifice based on the 1066 Norwegian aggression which culminated in the Battle of Stamford Bridge. Nuits d’Afrique (2015) is a beautifully ablaze alcove allotment for flute, cello, piano and acute with texts by three African poets (Fatou Ndiaye Sow, Véronique Tadjo and Marie-Léontine Tsibinda).

The Sweet Primroses (2015) for mezzo-soprano and viola is based on the bits of a barely-remembered acceptable folk song. It questions our accord to heritage, dabbling uncomfortably at the limitations of animal anamnesis afore award new possibilities in recreating what has been forgotten. The consistent allotment continues to comedy on the apperception continued afterwards the final addendum accept achromatic away.

Pianist Lana Bode and acute Samantha Crawford present their new song account programme “dream.risk.sing: adorning women’s voices” on October 20 as allotment of the 20th Oxford Lieder Festival. Tickets are accessible to watch their achievement in being or alive online here.

Music by all bristles composers featured in this commodity will be performed including the apple premiere of Charlotte Bray’s Crossing Faultlines about women’s adventures in the workplace.

Read more: 5 UK R&B Artists you charge to hear

Read more: Edward Gardner: Records that afflicted my life

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How To Write A Classical Piano Piece – How To Write A Classical Piano Piece
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