In the Moment

I ask myself, ‘How can I make “my music more clear and fresh, like Mozart’s? says Kevin Puts. I’m always ” looking for ways “to create that kind of spirit and beauty.” by Ann McCutchan

Eschewing the ivory tower, composer Kevin Puts Momentaims to communicate with performers and audiences— without compromising his individual voice.

“I know there’s still a fear among some of commissioned symphonies, plus six con- trace influences and proclivities. Puts says us,” says Kevin Puts, “that trying to hold certi for such solo artists as Yo-Yo Ma and that manuscripts he produced during his the audience rapt with attention means Evelyn Glennie. In the case of Glennie, the teens reveal some of the same melodic and you’re selling out, you’re not a real com- Percussion Concerto—commissioned by harmonic tendencies his music exhibits to- poser. But for me, composing is much the Utah and Pacific symphony orchestras, day. “I can’t really escape them,” he says. “I more complicated than the communica- and premiered by the latter in 2006—was found I couldn’t develop my voice through tion of an abstract idea. First thing, I’ve in part the result of her positive experience a series of intellectual decisions related to got to revel in the kinds of musical lan- with Puts’s Marimba Concerto, which she style, I could only do it through the actual guage that I care most deeply about, or I and the Vermont Symphony Orchestra had writing. You start to shed things that don’t can’t write anything convincing; I might as premiered in 1997. interest you, that don’t feel genuine, and well be dead as try to work within some- Puts’s success stems largely from his re- hopefully you have a voice at the end of all one else’s aesthetic realm. Second thing— spect for the social aspects of composition, that.” and this is not the primary aim of every wherein all sides of the composer-perform- He cites several composers who have composer, but I admit that it is mine—I er-listener triangle are ideally congruent. made a big impact on his work, and inter- want to communicate. I want audiences Often the performer forms the base of that estingly, they’re all great orchestrators. Stra- to be held in the moment, and be taken to triangle. Glennie, for example, looks for vinsky is “endlessly fascinating,” he says, the next moment. If that’s not happening, new pieces she personally wants to per- and so is John Adams. Puts recalls that I feel like I’m falling short.” form and introduce to others. With Puts’s when he first heard Adams’s The Chairman Puts (pronounced like its generic name- work, she says, “There’s a harmonic satis- Dances, in a performance by a student or- sake, the verb “puts”) undoubtedly speaks faction that people can relate to. Also, he’s chestra at the Eastman School of Music, “I for many other composers who never took not frightened of writing a melody—and to was just floored by it. I went straight to the totally to the ivory tower or the electronic write a melody is one of the hardest things piano and started improvising in this kind studio basement, who never refrained from to do. He taps into a beauty that seems to of style. It was minimalism more beauti- writing a distinguishable melody or a gut- resonate with audiences. He’s very confi- fully orchestrated than what I’d heard—a felt tonal progression out of fear that it dent that he has a particular voice, and one real dazzling use of the orchestra, like Rav- would cramp their careers. Puts, 37, is one he knows he can develop. He’s not trying to el.” Puts also admires the music of Michael of a growing number of composers writing sound like another composer, not following Torke, and was awe-struck when he came for orchestra today who’ve refused to com- trends. He’s completely comfortable with across the “Color Music” pieces from early promise their unique voices but who remain what feels right for him as a composer.” in that composer’s career. Orchestral color, mindful of the need to communicate, both says Puts, is often the generating element with fellow artists and with an audience. Genesis of an Orchestral Voice in his own music. The evidence lies in his sizable orches- Pinpointing where a composer’s voice orig- But Mozart is his key obsession. “I go tral catalogue, which already includes four inates is hardly a simple matter, but one can through times when I ask myself, ‘How can

americanorchestras.org 39 With much of Puts’s I make my music more clear and fresh, like music, it’s 10,000 in the south- Young Concert Artists and the California Mozart’s?’ It’s not that I want to plagiarize. important to central part of the Symphony. Over the next three years, that But I am always looking for ways to create understand state. His father is orchestra premiered his orchestral compo- that kind of spirit and beauty, that balance some of a mathematics pro- sitions Network, Exalted Virelai (after Guil- and perfection and leanness of sound—and the socio- fessor at Alma Col- laume de Machaut), and Symphony No. 1. the instinctual knowledge, upon listening, lege, and his mother enjoyed subsequent performances political Network that everything is there for a reason.” taught high school by the Baltimore and Cincinnati symphony Clarity and balance were foremost in narratives English until her re- orchestras. The commissions began to ac- Puts’s mind in April 2009, when clarinetist that have cent retirement. Puts cumulate. Puts accepted a teaching post in Bil Jackson and the Colorado Symphony inspired him. received his bach- composition at the University of Texas in Orchestra, under the baton of Music Direc- Dramatic elor’s degree from the fall of 1999. He soon realized that the tor Jeffrey Kahane, premiered Puts’s Clari- examples of the Eastman School demands of full-time university life were net Concerto, a work commissioned by this would of Music, where not to his liking, however, and in 2005 he new-music philanthropist Kathryn Gould be his two his principal teach- left Austin for New York, the city where through the nonprofit organization Meet works that ers were composers he and his wife, New York Philharmonic The Composer. It’s scored for chamber or- arose from Samuel Adler and violinist Lisa GiHae Kim, now make their chestra, in this case an ensemble consisting the calamity Joseph Schwantner. home. But the insular existence of a full- only of strings, harp, percussion, and piano. of September He went to Yale for a time working composer proved to be as un- In rehearsals Puts consulted often with Ka- master’s in composi- satisfying as the academic schedule he had 11, 2001. hane on the balance between soloist and tion, and returned to maintained in Austin. To restore some bal- orchestra. Some players were cut, others Eastman to pursue ance to his professional life Puts has joined were asked to sit out particular passages— a Doctor of Musical Arts degree, studying the adjunct faculty of Peabody Institute, typical adjustments made during a work’s composition with Christopher Rouse and commuting to Baltimore two days a week. first outing. piano with Nelita True. At Tanglewood he “I tend to be a hermit in New York,” he “People were telling me the balance received further guidance in composition says. “I don’t think most people even know problems were due to the hall,” Puts says, from Bernard Rands and William Bolcom. I live in New York. I go to concerts and “but that wasn’t it. I’ve found that if you get Rouse describes Puts as an artist who pos- they say, ‘How’s Texas?’ And I say, ‘I haven’t everything right in a piece, it sounds good sesses “a dazzling array of talents. He’s a lived there for five years!’ I really should get in every hall.” A well-crafted piece, he adds, profoundly musical composer who has al- out more, but I just don’t like to schmooze, can also hold up well even in a less-than- ways been open to trying new things rather and I don’t feel like I fit into the New York ideal performance. “Mozart, for example, than getting caught in a rut. What he’s pro- new-music scene. I’m not downtown, I’m sounds really good even if a youth orchestra duced is deeply impressive.” not uptown—I don’t know where I am!” plays it. Of course you hear things that are In 1996, when he was 24, Puts was Puts may not characterize himself as a wrong, like intonation, but it still somehow named composer-in-residence for both networker, but he has established a reputa- sounds. It works, it’s convincing. So that’s what I try for.” Puts confers with Music Director Marin Colorado Symphony musicians report Alsop during a rehearsal of California’s favorably on the Clarinet Concerto. “It’s Cabrillo Festival Orchestra in 2005. beautiful—he did a masterful job,” says Pe- ter Cooper, the CSO’s principal oboist (and one of the bench-warmers for this piece). Concertmaster Yumi Hwang-Williams, a musician highly experienced in contem- porary repertoire through her other role as concertmaster of the Cabrillo Festival Orchestra in California, calls Puts “a good craftsman, very meticulous. It’s a privilege to work directly with a composer, and I’ve always enjoyed Kevin’s pieces. They’re chal- lenging to play. His voice is lyrical, exciting, and accessible to both the players and the audience. Working on the concerto with him was a wonderful process.”

Midwestern Transplant Kevin Puts was born in St. Louis and grew up in Alma, Michigan, a city of about 40 On display at the California sis of a single piece. Like Symphony’s office is this Alsop, Harth-Bedoya has autographed over the years programmed page from the several of Puts’s works, and symphony it he chose him as the Fort commissioned Worth Symphony’s first from Kevin Puts and composer-in-residence in premiered the 2006-07 season. As during his part of that residency Puts third year wrote a violin concerto for as Young FWSO Concertmaster American Composer in Michael Shih. It’s included Residence. on a CD the orchestra re- leased last summer, one that also features two works by Gabriela Lena Frank—Elegia Andina and Leyendas: An Andean Walkabout—as well as Puts’s Symphony No. 3 (“Vesper- tine”). “The thing I like about his music is that it’s direct,” says Harth-Bedoya. “From the music to the players to the audience, there are no long roads to get the message across. And that means the use of timing. If a composer doesn’t know how to use time well, then you can risk not getting your Courtesy California Symphony point across. But with Kevin, it’s very, very tion as a composer who’s easy to work with. observers question the significance of stand- clear.” “He listens to all sorts of ideas,” says Glen- ing ovations, which vary in frequency and Much of Puts’s music is inspired by so- nie. “You know you’re dealing with some- meaning depending on the community and cio-political narratives. Dramatic examples one who is extremely conscientious, who the nature of the concert. But orchestras of this would be two works that arose out will deliver everything on time. And he al- and music directors do respond to feedback of the calamity of September 11, 2001: his lows you access to the emotions that most from the audience, and because Puts’s works Symphony No. 2 (“Island of Innocence”)— composers go through when they’re writing are generally popular with concertgoers they commissioned by the Utah-based Barlow a piece of music.” tend to live well beyond their premieres. Foundation for the Utah and Cincinnati Marin Alsop, whose association with Critics have offered mixed opinions, some symphony orchestras, and premiered by Puts goes back to 2003, when she first pro- praising the depth and freshness of Puts’s the latter in 2002—and Falling Dream, a grammed his music at the Cabrillo Festi- ideas, others deeming his music less innova- tone poem commissioned by the Ameri- val of Contemporary Music, concurs. Last tive than they’d like to hear. can Composers Orchestra/BMI Founda- summer the festival orchestra performed The latter sentiment brings out a touch the West Coast premiere of his Two Moun- of exasperation in the composer. “Let’s say Click herel to listen to selections from tain Scenes—the title reflects its provenance I have a piece played and the audience re- two works by composer Kevin Puts. His as a joint commission from the New York ally responds to it. My Fourth Symphony, Violin Concerto was recorded live by the Philharmonic and Colorado’s Bravo! Vail for example, was premiered at Cabrillo in Fort Worth Symphony Orchestra, led by Valley Music Festival—and Alsop has in- 2007, and I never had a better response Music Director Miguel Harth-Bedoya, vited Puts to return to Cabrillo this sum- than the audience gave to that: a ten-min- in Bass Performance Hall in 2007 mer to solo in his own Piano Concerto, a ute standing ovation. Clearly they were with Concertmaster 2008 commission from the Los Angeles very emotional—it was really gratifying to Michael Shih, during Chamber Orchestra. “Kevin is a delight to make something that would truly connect. Puts’s tenure as the work with,” she says. “He’s accommodating, And the critics wrote it off in one sentence. FWSO’s composer- while maintaining his own strong opinions; They didn’t discuss the event, how all those in-residence. The he is appreciative and always approaches people felt. It’s a strange world, but this is Colorado Symphony, things with a self-deprecating sense of hu- what some of us deal with.” led by Music Director mor that endears him to the musicians.” Miguel Harth-Bedoya, music director Jeffrey Kahane, gave of the Fort Worth Symphony Orchestra, the world premiere of Puts’s Clarinet Social Engagement observes that “with a good composer, every Concerto on April 10, 2009 with Bil And what about the third point of the com- work is different”—the implication being Jackson as soloist. poser-performer-audience triangle? Some that it’s hard to judge anyone on the ba-

americanorchestras.org 41 RR Jones Amit Peled, cellist

tion for premiere in 2002. Falling Dream Noel, about the legendary 1914 Christmas evokes images of victims leaping from the Eve cease-fire between French, German, World Trade Center. Wayne Lee Gay of and Scottish forces, it’s a perfect emotional the Fort Worth Star-Telegram offered a fit for this composer. succinct description of the piece: “The mu- “The story feels orchestral,” Puts says, sic immediately transcends the horror and noting that he admires the lucidity of Ben- sorrow of that moment. The concept and jamin Britten’s operas and will follow that explicit structure of Falling Dream are easily composer’s example by making use of or- grasped: The piece slides generally down- chestral interludes in Joyeux Noel. “Britten’s ward in pitch, creating a sensation of falling orchestration is very clear; he creates a lot for the listener. Subtle shifts of tonality and of definition through the use of pizzicato rhythm stimulate an emotional response in and harp, so the orchestra doesn’t get lost the listener. One senses resignation, accep- down there. I have great respect for what he tance and, finally, a sense of triumph.” did, and I hope I can come close.” Puts’s Clarinet Concerto was a reaction His next project after Joyeux Noel is a to Section 60, an HBO documentary on commission from the Houston Symphony the section of Arlington National Cem- and Chorus for premiere in the 2011-12 etery dedicated to fallen soldiers of the Iraq season. Aurelie Desmarais, the orches- and Afghanistan wars. As Puts describes it, tra’s senior director of artistic planning, the film “shows family members of the de- says the idea of having Puts write a large ceased, sitting on the graves all day, sleep- choral-orchestral work for the Houston “Having the flair of the young Rostropovich” ing at the gravesites. The fact that there Symphony began to evolve after the or- American Record Guide was little music in the documentary made chestra performed his Symphony No. 1 in Judith Davidson Artists [email protected] me think of music, and then a lonely clari- 2007. “From a commissioning organiza- tel. 508-240-2148 cell: 410-688-9565 net. It got me going. And once I get going tion’s point of view,” says Desmarais, “there www.amitpeled.com on anything, I just do what needs to hap- is always a desire for connection, relevance, pen musically.” avenues of accessibility—whether it’s in the Influences of Copland and Barber can language or the topic. Kevin’s music is ex- be heard in the lyrical first movement of tremely well constructed, and he’s got such this concerto, with slices of Messiaen and a gift for orchestration. But it’s not simplis- john duffy rolling swaths of Adams-style minimalism tic music. When he gets around to thinking works for orchestra in the second. In reviewing Puts’s music, about a text, we hope to strike some sort critics have also referenced Bach, Sibel- of connection to social or time relevance.” SYMPHONY NO. I: UTAH ius, Prokofiev, Mahler, and Ives. And at Puts is hoping for that as well. commissioned by The Sierra Club least one recent composition reveals Puts’s And beyond that, he’s thinking he might “The hit of the evening was Duffy’s Utah, which brought the audience openness to contemporary pop: his Third like to write a film score. “It’s pretty irregu- to its feet, cheering and stamping.” Symphony (“Vespertine”) was inspired by lar to be ‘found’ by a director with whom – New York Daily News the Icelandic singer Björk. In his own pro- your sound resonates,” he says. “But it hap- gram note for the work, Puts stated that he pened with Corigliano, Golijov, several A TIME FOR was “drawn to the dazzling array of sounds others. And it’s sort of the ultimate oppor- REMEMBRANCE supporting her, the stark contrasts between tunity to communicate with a large audi- commissioned by the fragile, transparent timbres and rich, lush ence.” US Department of the Interior, orchestral and choral textures … I wanted the National Parks Service and the USS Arizona Memorial to commemorate to create an impression of her improvisa- ANN McCUTCHAN is the author of The the 50th anniversary of Pearl Harbor tory, jazz-induced, and utterly distinctive Muse That Sings: Composers Speak About the melodic style as filtered through my own Creative Process (Oxford University Press); Marcel HERITAGE aesthetic.” Despite the purely instrumen- Moyse: Voice of the Flute (Amadeus); and Circular SYMPHONIC DANCES tal scoring, her free-floating voice seems to Breathing: Meditations From a Musical Life arrangements from Duffy’s Emmy meander through the work. (Sunstone). Award-winning score for the PBS series Heritage: Civilization and the Jews Got an opinion? Join the discussion! “Haunting” – New York Times What Comes Next “Brilliant” – Chicago Tribune Since Kevin Puts’s music is often motivated Does your orchestra have a composer in by dramatic, emotion-packed situations, it’s residence? How do you break down the John Duffy is published by Schott Music Corporation no surprise that he’s working on his first “ivory tower” that can separate composer 254 West 31st Street, Floor 15 New York, NY 10001 and audience? p: 212 461-6940 | f: 212 810-4565 opera, a commission from the Minnesota www.schott-music.com | www.eamdllc.com Opera scheduled for premiere in November Click Discussionsl below to comment. 2011. Based on the 2005 French filmJoyeux

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