The Daily OrangeThe perfect score: local musicians find harmony composing for contemporary ensemble
By Jackie Saunders
Posted: 1/23/06, 12:38 AM EST Section: Pulp
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Papers rustle as audience members study their programs, ignoring the low persistent hum of greetings around them. The incomers pause for a moment to survey the stage, which displays a small collection of instruments warmed by the afternoon sun spilling through a skylight. Unannounced, a procession of musicians quietly approaches the stage, sits down and begins to play.
For local composers, musicians and avid music lovers, The Society for New Music provides a music scene atypical for Central New York residents. The presentation of "Society Music" on Jan. 22 provided students in the Setnor School of Music at Syracuse University the privilege of seeing their professors' music performed.
John Liberatore, a junior music major, especially enjoyed the engaging and suspenseful piece, "Fractured Mirrors," written by Professor Nicolas Scherzinger, who serves as a chair in the composition and theory department at the Setnor School.
"It has a really interesting pace and it really got you moving, not in the cliché rock 'n' roll way, and it wasn't outwardly or purposefully different," said Liberatore, who tries to keep up with what the society is doing.
Liz Lyons, a junior music education major, noted that there was an impressive group of musicians and composers at the concert.
"I look around the room, and there are a lot of people I have heard of," Lyons said.
Despite the fact that the society boasts members such as the 2004 Pulitzer Prize recipient Steven Stuckey, the atmosphere is unassuming, and audience members are quick to smile and converse with one another. The society's disposition reminds Lyons of her experiences in the Setnor School.
"It is small and familial, and it is better that way," Lyons said.
Other SU faculty members involved in the society included Steven Heyman, professor of piano, and Sally Lamb, professor of composition.
"Subito," Italian for "suddenly," is Lamb's first commissioned work for the society. Bright-eyed and energetic, Lamb introduced her music, warning the audience of its unconventional sound.
"It sounds as if the instruments are playing separate music competing with one another," Lamb said. "I can hear my mother now: 'Why would anyone want to hear anything like that!'"
Lamb enjoys her 13-year relationship with the society.
"They are champions of new music; we are really fortunate to have them in Syracuse," Lamb said.
The purpose and benefits of The Society for New Music are essential to founding member Neva Pilgrim, who came up with the idea in 1971. Giving composers a venue to premier pieces and commissions to create new music is the mission of the society. Focusing on the Central New York region gives local musicians opportunities they might otherwise not have, Pilgrim said.
"I thought about how local artists have their galleries to hang their artwork in, and composers, well, where do they go?" asked Pilgrim.
Pilgrim sees a cultural advantage in showcasing community talent.
"It is like local produce; it is healthier for one, and someone has to do it!" Pilgrim said with a chuckle, but didn't fail to mention one of the composers present is Syd Hodkinson, a renowned faculty member of the Aspen Music Festival.
Pianist Steve Weyman points to his name on the sheet music for "Fractured Mirrors. "See? My name is written on it; it was written for me. I am especially honored to be involved with a composer of his stature," joked Weyman, pointing to Scherzinger, who gave him a playful nudge.
Weyman's lithe and dexterous fingers may be inspiration enough for a piece focusing on the piano, but writing for fellow Society members is not an uncommon practice.
"Writing is very much about writing for my friends," said Scherzinger, who is familiar with the commissioning process. Since his graduate school days in the Eastman School of Music, he has been interested in working with the society.
Scherzinger is aware, however, of the constant evolution of composers and the potential problems that may arise if an organization wants a previous sound or style to be incorporated into a new work.
"I don't want to rewrite. This is where the artist struggles the most. I move into different places in my music, and it is hard to go back a year and a half," said Scherzinger.
Still, Scherzinger knows that any chance to perform music is a wonderful opportunity, and is very grateful to have this occasion for himself and all other musicians.
"It is rare to have a contemporary music ensemble, especially in Syracuse," Scherzinger said. "You expect it more in New York, Boston and Philadelphia."
