About the Music

Resurrection-of-Realism_1_About the Music

Finally, because much film music, is inspired (as my music has been) by the early 20th century symphonists, it is common for some in the first rail to dismiss any classical music in that style as mere “movie music” after only hearing the first minute, as if to say that its composer “sold out”. Apart from the fact that I think some film music is indeed great and will outlive their own music (wake up!), there is a fundamental difference between my music and film music that such comments overlook. Film music is at the service of what is on the screen and is usually cut off after a few minutes by a scene change or dialog, with some notable exceptions. Classical music like mine is not interrupted in that way and is free to make its own narrative using larger classical forms over a longer time. If great film music can be called poetic, as series of shorter musical “poems”, then tonal classical music like mine can be, I hope, likened more to a novel. My music is squarely in the same genre with the early 20th-century fully-classical symphonists, not in the same genre as film music. But I do see a kinship with film music as a kind of cousin and do not regard that as the put-down it is intended to be by some. I would not mind if some portions of my work were used in a film, as long as the whole, original composition was also available. Writing for a film directly, though, is not something I have ever aspired to do. I am a classical composer for the concert hall.

I keep working toward these goals, the latest expression of which can be found in my album called The Sea Knows and especially in my newest work, a symphony, which can be heard by clicking above on the “Symphony No. 2 Demo Videos” link.  (A commercially released album of the symphony is due in 2021.)  Thank you most sincerely for your interest in reading this.
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