So many of the composers I admire are exploring longer works. 30, 40, 60 minute works are being crafted by many of today’s best choral composers.
I recognize the draw – to be able to create extended themes, explore the larger forces that major works allow, and generally create a musical narrative that can’t be achieved in an octavo-length work.
For me, though, I am exploring the other extreme. I’m fascinated by the miniature. How can you express an idea in the absolute shortest amount of time possible? When is extension required, and when is it just inefficient writing?
Various thinkers have had the following quote attributed to them: “I’m sorry for the length of my letter; I didn’t have time to make it shorter.” (Apparently Blaise Pascal is the likely source.) I think the wisdom of this is solid: it takes longer to trim the unnecessary and get to something perfectly pithy.
As an arranger, I’m on a kick of writing full arrangements that can be printed on less than 4 pages. A 2- or 3-page arrangement that has everything you need for a performance is a gift to busy ensembles, and a very interesting challenge to write.
As a composer, I try to ask myself throughout the process – is this section essential? While I’m not a “kill your darlings” type of creator (maybe I’m too sentimental) but I try to be ruthless in making sure what I write feels necessary.
For example, have you hear Anders Edenroth’s beautiful new miniature “Too Long” – his reimagined and clever take on a Stravinsky line: “Too many pieces of music finish too long after the end.”