John Adams
Composer
Selections from The Interview
- Do you have a special musical memory from when you were very
young?
When I was 8 years our schoolteacher read us a child's biography of Mozart. I don't know what the other kids in my class thought, but I was completely entranced by the idea of a boy my age who could compose symphonies and concertos. I decided right then and there that I wanted to be a composer too. Unfortunately, I soon found out that it wasn't as easy as that, and that I needed to do a lot of learning. But, even though I lived in a very small town in New Hampshire, I found a teacher, and it wasn't long before I heard my first piece played by a local orchestra. - How long does it take you to compose a work? Do you have a favourite
place to compose your music?
I write a lot of orchestra music. That means I have to write for all the instruments—the flutes, the trumpets, the percussion, harps and strings, so it takes a long time. To compose a 20-minute piece for orchestra usually takes about six months. The operas I have written each took nearly two years to write. Part of the reason for this is that a composer has to make all the decisions alone. You can't hire someone to help you out. - What instruments can you play? Do you need to play all the instruments
you compose for?
I learned the clarinet from my father. He used to play classical music and jazz and he was a very good and very patient teacher. We didn't have a piano in the house where I grew up until I was much older. I regret that I never learned to play the piano. It would have made composing perhaps a lot easier. Plus I could have been able to play all that wonderful literature by Bach, Beethoven, Chopin, etc. - Does your music sound particularly "Canadian / Mexican
/ American"? If so, why?
I think that an “Ethnic†or “Nationalist†Flavor to any art can be a great pleasure. For example, we love what is “Russian†about Tchaikovsky and what is “French†about the great impressionist painters, and I think that there is a very American feel to much of my music—the sense of pulse and extrovert colors and moods. But not all art has to feel this way. Some composers, painters and novelists don't wish to be associated with a certain time or place. - What is the source of inspiration for your compositions?
Every piece is different and has different reasons for being. Usually I agree to write a piece because someone has asked me for it and I like that person or that orchestra, but very often I compose a piece because I have a certain idea or a certain “image†in my mind which I want to bring to fruition. - What advice would you give a student who would like to compose?
The first advice is to be an “omnivoreâ€. (An omnivore is someone who eats everything!) When you are young you can take in everything and it's all a wonder and a pleasure. You should get your hands on every recording and every printed score and learn everything. And don't just listen to classical music—Let your interests be as wide as possible. Listen to music from all over the world.
The second bit of advice is to learn an instrument and learn it well. Try to perform in public as much as possible. Sing in a chorus, no matter how bad you think your voice might be. Singing is very important to develop a sense of pitch and harmony. - Which of your compositions is your favorite? What should I,
as a student, listen for?
I am very fond of my first opera, “Nixon in Chinaâ€. But for those who want a short piece, I would recommend “Short Ride in a Fast Machineâ€. It's a piece that often appears on youth concerts, and it's full of energy and virtuoso orchestra playing.
