New Musical Theater Composers

So, I thought I'd start some discussion about musicals, specifically the new wave of composers that have, as Christopher Dunn-Rankin pointed out in another topic, sort of reconciled classical music and theater music.

I honestly have no idea what to talk about, so... I was first introduced to this generation of composers when I heard a student from my school perform "The Old Red Hills of Home" by Jason Robert Brown. I was absolutely captivated (although I was unaware that he was rather the tip of the iceberg) and I immediately began to search online for this new group of composers. The first thing I bought was Adam Guettel's "Myths and Hymns" which I began an immediate obsession with, and I quickly bought all of the Michael John LaChiusa that was on record, as well as some Jason Robert Brown and Ricky Ian Gordon's Bright-Eyed Joy.

Anyone else a fan of these composers?

So, I thought I'd start some discussion about musicals, specifically the new wave of composers that have, as Christopher Dunn-Rankin pointed out in another topic, sort of reconciled classical music and theater music.

I honestly have no idea what to talk about, so... I was first introduced to this generation of composers when I heard a student from my school perform "The Old Red Hills of Home" by Jason Robert Brown. I was absolutely captivated (although I was unaware that he was rather the tip of the iceberg) and I immediately began to search online for this new group of composers. The first thing I bought was Adam Guettel's "Myths and Hymns" which I began an immediate obsession with, and I quickly bought all of the Michael John LaChiusa that was on record, as well as some Jason Robert Brown and Ricky Ian Gordon's Bright-Eyed Joy.

Anyone else a fan of these composers?

Yes. I love Guettel's music especially - not so much Michael John LaChiusa. I find that as much as I like Ricky Ian Gordon and Jason Robert Brown, they haven't exactly reconciled classical and theatre music. Jason Robert Brown is very much in a pop idiom, and Ricky Ian Gordon does not primarily compose large-scale theatre works.

All in all, I'd say Guettel's my favorite, largely because of Floyd Collins, which is an incredible musical. It's score is beautiful in a simple way that The Light in the Piazza doesn't approach.

I think that I'm inclined to agree about Floyd Collins. I bought it about two weeks ago (from iTunes... bleh!) and I still haven't prepared to listen to the whole thing. Like, it's difficult to take time and concentrate on it, but I think that when I finally do, the rewards will be worth it. The couple of songs that I've picked out that I know I like (Git Comfortable, How Glory Goes, It Moves) are brilliant. The strings and yodeling at the end of How Glory Goes pretty much assured me that Floyd Collins is the best thing to come out of this new generation. I can't wait for The Princess Bride

Jason Robert Brown, I agree, composes in a very pop idiom, but at times he moves out of it... "The Next Ten Minutes" is an example. Although it's not decidedly classical by any means, it's an example of work where he doesn't totally rely on his pop sensibilities. As for Ricky Ian Gordon, I'm really anticipating getting my hands on "Dream True". Hopefully that will showcase his abilities to write songs that can advance plotlines.

I think that I'm inclined to agree about Floyd Collins. I bought it about two weeks ago (from iTunes... bleh!) and I still haven't prepared to listen to the whole thing. Like, it's difficult to take time and concentrate on it, but I think that when I finally do, the rewards will be worth it. The couple of songs that I've picked out that I know I like (Git Comfortable, How Glory Goes, It Moves) are brilliant. The strings and yodeling at the end of How Glory Goes pretty much assured me that Floyd Collins is the best thing to come out of this new generation. I can't wait for The Princess Bride

Jason Robert Brown, I agree, composes in a very pop idiom, but at times he moves out of it... "The Next Ten Minutes" is an example. Although it's not decidedly classical by any means, it's an example of work where he doesn't totally rely on his pop sensibilities. As for Ricky Ian Gordon, I'm really anticipating getting my hands on "Dream True". Hopefully that will showcase his abilities to write songs that can advance plotlines.

The best way to listen to "It Moves" is as the whole prelude as one: Part I: The Call, Part II: It Moves, Part II: Time to Go.

I sing How Glory Goes, and I love it, and I love the digital delay and strings at the end. Git Comfortable is also great, but I really like the odd stuff, like The Dream, and The Riddle Song.

There's also this great soprano solo at the beginning of Through The Mountain that's amazing, for all its weirdness.

And for pure underscoring brilliance - I Landed On Him. It's frightening.

Ah! I agree completely about I Landed On Him. It IS frightening. It's remarkable. My applause for being able to sing How Glory Goes. That's one of my singing\performing goals. It's a gorgeous song. Have you heard the Audra McDonald rendition? I mean, it's so much more powerful in the context of the show, but Audra McDonald is SUCH an amazing singer.

I'll have to pay special attention to The Dream when I listen to it. I've sort-of listened to it before, but Floyd Collins is one of those things that you definitely can't listen to "in the background". Riddle Song is one of the reasons I bought the album. I mean, if STEPHEN SONDHEIM says he wishes he had written it, then...!

Definitely not a background role for that musical, for sure.

I have not heard the Audra MacDonald version of How Glory Goes, though I've heard it's fantastic.

I didn't know Sondheim said he wished he'd written The Riddle Song, though I can see how he would.

Yeah, I believe there was a whole list of songs that Sondheim says he'd like to have written in some article, I believe with him and Frank Rich in the Times, a long time ago.

So, what about LaChiusa? What is it that people don't like about him? I personally love some of his work. I think his biggest problem is that he doesn't develop his songs fully enough, so he ends up with about 30 seconds of brilliant material in a 2 minute song, though I agree that his thirty seconds of genius don't compare to Floyd Collins, where the entire score is beautiful.

Yeah, I believe there was a whole list of songs that Sondheim says he'd like to have written in some article, I believe with him and Frank Rich in the Times, a long time ago.

So, what about LaChiusa? What is it that people don't like about him? I personally love some of his work. I think his biggest problem is that he doesn't develop his songs fully enough, so he ends up with about 30 seconds of brilliant material in a 2 minute song, though I agree that his thirty seconds of genius don't compare to Floyd Collins, where the entire score is beautiful.

A friend of mine knows Adam Guettel and Michael John LaChiusa personally. The reason for LaChiusa's problems with development, etc. is that he refuses to revise. He actually REFUSES.

Also - news about The Princess Bride:

Buttercup is going to be a belter.

I remember hearing this excellent LaChuisa song that was premiered at the Kennedy Center. (Actually you can download the video and watch it, but you have to skip through a few songs of this other musical, which, IMO, are not very good. http://www.kennedy-center.org/programs/mil...uestTimeout=500 I can't post a direct link, but search for LaChuisa, it's the only one that shows up.) It was titled, "What's the Cure for Love." and it's actually the first song of his that I really liked.

I wonder what suprises we're going to see in Princess Bride musically. One thing I've noticed is that Guettel completely changed his style between Floyd Collins and Light in the Piazza, and it seems through his interviews that he is very much into letting the music grow from the situation of the show.

I haven't heard much Ricky Ian Gordon, but The Street from My Life with Albertine is great.

I wonder what suprises we're going to see in Princess Bride musically. One thing I've noticed is that Guettel completely changed his style between Floyd Collins and Light in the Piazza, and it seems through his interviews that he is very much into letting the music grow from the situation of the show.

I'm going to disagree with you on this point. The only real difference in style between the two shows is their instrumentation. They feature similar harmonic, rhythmic, and in some cases, melodic content. Both shows prominently feature triplet accompanimental figures split between the hands of the piano. Both shows use a sort of "hemiola" effect caused by syncopating attacks in the treble and bass piano parts. As far as instrumentation, both use sweeping strings, though Piazza features more pizzicato, while Floyd Collins uses the strings as soloists and counterpoint primarily.

But Light in the Piazza uses so many more arpeggios and sweeping lines, while Floyd Collins tends to be less "ethereal" and more "earthy". I know those are bad adjectives, but I can't really put into words how I feel they're different. I think it's just one of those things that I feel as opposed to something in the printed music that you can visualize.

But Light in the Piazza uses so many more arpeggios and sweeping lines, while Floyd Collins tends to be less "ethereal" and more "earthy". I know those are bad adjectives, but I can't really put into words how I feel they're different. I think it's just one of those things that I feel as opposed to something in the printed music that you can visualize.

But again, it's all because of the instrumentation and mood. It's hard to do sweeping lines when you're only working with what's effectively a bluegrass band. And also, the mood of Piazza is much more the romantic love story type. You can't say he writes in a different style just because the mood is different. Because stylistically, he's SO similar. The sharp accents in bass lines, the accented rhythms, the use of triplets - all these are consistent through both shows.

Nevertheless, it's a completely different mood. I think that's a large idea of style. Not only in his music, but in his lyrics.

Besides, it might be a little early to say that he writes in the same or a different style through his shows. He's only had two.

Three if you count Saturn Returns\Myths and Hymns, which I think has more in common with Floyd Collins than Piazza.

I agree, lyrically, Piazza is VERY different from Floyd. It has to do with the characters. Margaret speaks differently than Floyd. Also, the forms of the songs in Piazza are much more traditional. Statues and Stories is perhaps vaguely similar to the prolouge of Floyd Collins, but the only song I can think of with a traditional form in FC is "How Glory Goes", and maybe "Git Comfortable"? I don't know; I'm not as familiar with the show as I'd like to be.

I don't think Piazza's music is similar to Floyd Collins, but if I listened more critically, I'd probably notice similar techniques. Even in Lynn Ahrens and Stephen Flarhety's scores, which rely heavily on influences from the period and location of the story, there are some similarities. But I think Guettel expresses things through completely different lenses from show to show.

By the way, LaChiusa REFUSES to revise?! That explains a lot.