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Words & Music: A Conversation with Poets and Composers

the words always come before the music. That means Newhouse: Absolutely. That’s actually part of the fun!
that it’s being created in a vacuum that only works with The challenge when Kyle asks for three extra syllables
itself. Once the music gets added, the elements have here, or two less there, or a whole new final line…
to move around to make the end product work. I’ve Again, my job is to give him something that rocks
had texts that are set exactly as I wrote them with no his composer-world. Though you didn’t ask this, I’ve
alteration, and I’ve had others (like “Love Will Find A found, with Kyle, that collaboration works both ways:
Way”) where additional work was needed to get it right he once showed me an early draft of a piece, and I
as a choral piece. If you’re not willing to let your words thought one particular line of text wanted much bigger
be adjusted for what the music is asking/needing, then music; he took that to heart, re-wrote it, and it became
the published piece will be less than it should be. I’m the exciting climax.
more interested in getting it right for the music than
making sure that the integrity of my original poem is Finally, what would you like conductors to know
maintained. about the commissioning process?

Powell: I consider composition to be very personal and
Boss: Once the final draft of the text is complete, Jake a craft that requires a great investment of time, heart,
starts working out the music. This is when we fine-tune intellect, skill, and energy. The more information a
stuff—a single word’s syllable count, or a particular conductor provides relative to purpose, message, and
vowel that doesn’t chorus well. He doesn’t change a mood, the more informed the process will be for me. I
thing unless I consent, and now and then I’ll insist on a don’t accept open-ended commission requests that be-
choice he has to tangle creatively with, or we’ll haggle gin and end with statements like “I want a fast, up-tem-
over a definition, or puzzle out a phrase together. It po song” or “a slow song like your song (title).” Some
takes a lot of trust and mutual respect to work this way, composers are fine with such requests; but for me, re-
but it’s immensely satisfying. quests that provide no direction for messaging, story-
We’re collaborating in the truest sense of the term: telling, or expression imply that the requestor has not
toiling together. What we make we make up whole- given serious thought to the commission or its pur-
cloth, original. As a result, we’re passionate about ev- pose. For me, there must be a reason to compose or a
ery word. The finished piece is a mutual expression, message that the commissioner feels compelled to share
not just his interpretation of something I wrote. That’s with their singers and audience. Otherwise, there is no
what’s exciting about working with Jake, and why, after source of inspiration for me.
nine projects together, I’m ready for more.

Runestad: Commissioning a poet in addition to a com-
Flanders: I trust Carlos so much. I am beyond fortu- poser is an important and compelling way to make a
nate to have him collaborating with me in the textual relevant artistic statement. Older texts have a place, but
process. I tend to deluge him with text and then he we can’t always live in the past, and custom-made texts
mines the onslaught for distillates, which then shape are often better suited to musical settings. The poet
into piece. We think a lot also in terms of what frames should be paid a fair fee for their work and should be
a piece or ways that entering and leaving the experi- involved in the entire process, just like the composer.
ence of the piece can also be meaningful for the audi- The poet, composer, and conductor team should en-
ence. In “Holding Our Breath” we explored a lot about gage in a trusting relationship before the collaboration,
breath and used it as an element of frame. with an understanding of roles and expectations, to
make sure they work well together. This trust is crucial
for the success of the project.

CHORAL JOURNAL March/April 2023 Volume 63 Number 7 15