In crafting music that speaks from the heart, I often reflect on the words of Wolfgang Amadeus Mozart. In a letter to his father dated November 8, 1777, Mozart wrote:
I cannot write poetically, for I am no poet. I cannot artfully arrange my phrases so as to give light and shade. Neither am I a painter; Nor can I even express my thoughts by gesture and pantomime, for I am no dancer. But I can do so in sounds. I am a musician.
This profound declaration inspired me to create a collection of pieces I call Love Letters. Each piece is a musical expression lasting approximately 3-5 minutes, dedicated to someone dear to me. These compositions are my way of conveying emotions and memories that words alone cannot capture.
A Love Letter: To the Lady I’m with 20 Years is a tribute to my wife, commemorating our 20th wedding anniversary. The inspiration for this piece stemmed from our unforgettable journey through Turkey and Greece. Composed in binary form, the piece is thoughtfully divided into two distinct sections:
Section A: The Essence of Turkey The ‘A’ section embodies the rich cultural tapestry of Turkey, reflecting its land and air. To develop this section, I immersed myself in Turkish music, exploring its unique modes and intricate rhythmic patterns. Two traditional Turkish melodies served as particular inspirations. While Turkish modes often incorporate microtones, I sought to evoke their distinctive flavor by incorporating Bb and C# within a melody centered in A major. This melodic framework is harmonized using the Western-style D harmonic minor, creating a bridge between Eastern and Western musical sensibilities.
Section B: The Serenity of Greece Transitioning to the ‘B’ section, the composition captures the serene beauty of the Greek sea and its islands. I drew upon ancient Greek melodies, including one that resonated deeply from my college studies. This section is set in E minor and utilizes plagal cadences (IV-I) to convey a sense of resolution and tranquility. Additionally, the incorporation of whole-tone scales introduces a shimmering, fluid quality, reminiscent of the gentle waves and the timeless allure of the Greek islands.
Through A Love Letter: To the Lady I’m with 20 Years, I aim to celebrate not only two decades of marriage but also the enduring beauty of the places that visited celebrating our commitment to each other. This piece stands as a musical testament to love, memory, and time.
Last year, as the holidays drew near, I was looking for a way to immerse myself in the festive spirit when I decided to play some Christmas Carols. Amidst a hectic schedule and the distractions of politics, the quintessential Christmas feeling seemed elusive. I realized that scents and sounds possess a profound ability to trigger memories and evoke nostalgia.
During the holiday season, we bring out a collection of Christmas carol plates from the 1980s by Royal Doulton. These beautifully crafted plates not only add a touch of elegance to our decor but also serve as a nostalgic reminder of past celebrations. To enhance our festive atmosphere, I decided to play the Christmas carols on these plates, creating a sensory experience that brings everyone into the holiday mood.
Christmas carols are more than just melodies; they are timeless stories that connect us across generations and cultures. From the serene “Silent Night” to the joyful “We Wish You a Merry Christmas,” each carol carries rich origins and enduring charm.
Originally stemming from medieval pagan Winter Solstice celebrations, carols were songs of dance, praise, and joy. As Christianity spread, these festive tunes were adapted to celebrate Christmas, preserving their spirited essence. The Victorian era revitalized caroling traditions, with influences like Charles Dickens’ “A Christmas Carol” shaping modern celebrations. Globally, carols such as Spain’s “Feliz Navidad” have added diverse flavors to the repertoire.
Today, Christmas carols encompass a variety of musical styles, with jazzy renditions standing out for their lively appeal. Embracing the tradition of community singing, I’m sharing this virtual caroling experience to unite friends and family worldwide. This approach keeps the spirit of caroling vibrant and meaningful, even when we’re apart.
“I Saw Three Ships” is a beloved traditional Christmas carol that dates back to the 17th century, originating from the coastal regions of England. The charming melody and simple, evocative lyrics depict the joyous arrival of three ships laden with treasures, symbolizing the gifts of the Magi and the spirit of giving that defines the holiday season. Often sung with lively harmony, this carol captures the excitement and wonder of Christmas Eve, bringing warmth and cheer to gatherings. Its enduring popularity lies in its ability to evoke vivid imagery and foster a sense of community as families and friends come together to celebrate the festive spirit.
I Saw Three Ships (Come Sailing In)
While Shepherds Watched Their Flocks
“While Shepherds Watched Their Flocks” is a cherished Christmas carol that tells the serene story of the shepherds who first received the divine announcement of Jesus Christ’s birth. Originating in the early 19th century, the carol draws inspiration from the biblical account in the Gospel of Luke, highlighting themes of humility, awe, and divine intervention. Its gentle melody and heartfelt lyrics create a peaceful ambiance, reflecting the quiet night when angels proclaimed the good news. Often performed in churches and holiday gatherings, “While Shepherds Watched Their Flocks” serves as a poignant reminder of the true spirit of Christmas, celebrating faith and the miraculous events of that holy night.
“The Holly and the Ivy” is a timeless Christmas carol with roots that trace back to medieval England, though its exact origins remain somewhat obscure. This traditional song beautifully intertwines Christian symbolism with natural imagery, using the holly and ivy plants as metaphors for the Holy Trinity and eternal life. The carol’s soothing melody and evocative lyrics celebrate the beauty of the winter season and the joyous spirit of Christmas. Over the centuries, “The Holly and the Ivy” has been embraced by various cultures and artists, each adding their unique interpretations while maintaining its heartfelt essence. Whether sung in churches, homes, or festive gatherings, this carol continues to evoke warmth and reverence, making it a beloved staple of holiday celebrations around the world.
The Holly and the Ivy
Hark! The Herald Angels Sing
“Hark! The Herald Angels Sing” is one of the most celebrated and widely recognized Christmas carols, first published in 1739 with lyrics by Charles Wesley and later adapted by George Whitefield. The carol vividly narrates the joyous announcement of Jesus Christ’s birth by the angels to the shepherds, emphasizing themes of peace, goodwill, and divine love. Its uplifting melody and powerful lyrics have made it a staple in Christmas services, concerts, and festive gatherings around the world. Over the years, numerous artists have reimagined the song, infusing it with various musical styles while retaining its inspirational message. “Hark! The Herald Angels Sing” continues to inspire and uplift listeners, embodying the true spirit of the holiday season.
In this episode, we’re joined by composer Yangfan Xu, whose fusion of Chinese heritage and global influences creates a unique blend of contemporary classical music. Yangfan transforms rich multicultural experiences into captivating musical stories. A visionary, she has captured the hearts of international audiences by weaving these experiences into the fabric of her music. We discuss how she uses narratives to deepen the connection to her listeners. We’ll delve into her creative process behind works like Fantastic Creatures of the Mountains and Seas, inspired by ancient Chinese folklore, Jungle Sway, and the multimedia-enhanced Turn Me into Ocean. The resonating message from this interview is clear: music is more than sound; it’s a medium for storytelling, connecting cultures, and exploring new worlds. Yangfan Xu isn’t just composing music; she’s crafting epics.
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Yangfan Xu is a Chinese-born, U.S.-based composer renowned for her contemporary classical compositions that weave together her rich Chinese heritage with broad global influences. Born in Lanzhou, China, Xu has garnered recognition for her ability to blend diverse cultural elements into her music, making her a distinctive voice in modern composition.
Educated at some of the world’s leading music institutions, Xu’s journey in music began in high school at the Central Conservatory of Music in China, followed by further studies at the San Francisco Conservatory of Music where she received her bachelor’s degree in composition. She then earned her master’s degree from The Juilliard School and is currently pursuing a Doctor of Musical Arts degree at the New England Conservatory of Music.
Her works have been performed by prestigious groups such as the New Jersey Symphony Orchestra, the New Juilliard Ensemble, and many others. Xu’s composition, “Fantastic Creatures of the Mountains and Seas,” is particularly noted for its premiere at Lincoln Center. Among her accolades are the 2023 Boston New Music Initiative Commission Competition and the 2021 Society for New Music’s Israel/Pellman Award.
Xu’s music often explores themes of multiculturalism, and she has a profound connection with nature and myth, which deeply influences her compositions. Her style is described as vibrant and full of life, often infused with narratives that bridge cultures and connect audiences from diverse backgrounds.
After the whirlwind of preparations and performances for the November 2nd concert, I’ve finally returned to writing new music. The end of November was filled with cleaning up my Threnody for Democracy recording, conducting an interview for Music from Humans, and, of course, celebrating Thanksgiving. But as December rolled in, I found myself looking at long-overdue projects and decided to dive into both composing and refining an existing collection.
Revisiting Love Letters
I turned my attention to my Love Letters collection—pieces inspired by deeply personal and romantic themes. This collection contains four piano works and three pieces for various ensembles. I decided to start with the piano compositions, using this project as an opportunity to move them into Dorico while simultaneously writing a new piece to add to the collection.
Transitioning to Dorico
Exporting the piano works from Finale to MusicXML for import into Dorico went relatively smoothly, though a few issues cropped up: missing pedal marks, odd layout problems, and some quirks with titling. I created custom page templates to maintain a cohesive look across the collection, which streamlined the process. However, there were still elements like custom dynamics (f+) & tempo markings (in tempo) that will require extra effort to replicate.
A New Work: Inspired by Turkey and Greece
For the new piece in this collection, I drew inspiration from my 20th wedding anniversary trip to Turkey and Greece. Written in binary form, the composition reflects the two halves of the journey: the ‘A’ section represents the land and air of Turkey, while the ‘B’ section captures the sea and islands of Greece.
To develop the ‘A’ section, I explored Turkish music, delving into its modes and rhythmic patterns. Two Turkish melodies particularly inspired me. While Turkish modes incorporate microtones, I approximated their flavor using Bb and C# in a melody grounded in A, harmonized with Western-style D harmonic minor.
For the ‘B’ section, I looked to ancient Greek melodies, including one I remembered fondly from my college studies. This section blends E minor with plagal cadences (IV-I) and incorporates whole-tone scales to add a shimmering, fluid quality. These elements evoke the sea and the feeling of island-hopping between the Greek isles.
Shaping the Composition
With these melodies in place, I began sketching out the structure. Listening to Romantic piano works, particularly those by Schumann and Schubert, helped shape the piece’s stylistic direction. Schubert’s Sonata No. 8, for example, provided insight into accompaniment patterns that translated well into the 7/8 rhythms I planned to use. For the ‘B’ section, Debussy and Ravel offered inspiration for a more impressionistic approach, especially in evoking the sensation of water.
Schubert Sonata No. 8‘A’ section
The first ‘A’ section came together quickly, with a main melody, chord progressions, and a contrasting development section where I fragmented the melody into the bass and added flowing runs in the right hand. This section ends with a return to the main melody, setting up a transition to ‘B.’
In the ‘B’ section, I aimed to emulate the gentle rocking of waves with a new accompaniment pattern.
‘B’ Section
The melody in 5/8, takes on a pentatonic quality and I decided to brake it up to evoke the feeling of island-hopping. Whole-tone runs reminiscent of Debussy’s La Mer, add variation and enhance the water imagery.
Refinement and Feedback
As the piece neared completion, I made various refinements, including the transition between the two sections to enhance fluid movement. Drawing inspiration from Hindemith’s Moon, I crafted a passage that bridges the tonal and rhythmic contrasts. In the ‘B’ section, I modified the accompaniment, which initially felt too monotonous, to better convey a sense of movement. I also spent time improving the notation, though I still encountered challenges in getting Dorico to behave exactly as I wanted. To ensure the work remains accessible without sacrificing its expressive intent, I sent drafts to a few pianists for feedback. Their input will be crucial in determining the playability of certain passages.
The Key Dilemma
One challenge I faced was the key relationship between the two sections. Traditional binary forms often start and end in the same key, but my piece features two distinct keys—D for the Turkish section and E for the Greek section. While I feel these keys best suit their respective melodies color, I’m experimenting with ways to unify them, possibly through a shared key center, which will require reworking the transition.
A Journey Close to Completion
The piece is nearly finished. Once I finalize the key structure and incorporate feedback from the pianists, I’ll polish the notation and call it complete. This composition represents a blend of cultural influences and personal memories, and I’m excited to see it take its place in the Love Letters collection.
As I wrap up this project, my next steps include continuing the process of transferring other pieces in the collection into Dorico. Beyond that, I’m eager to return to my Solo Circle Music series, which I have only completed, Aureole so far. For now, it feels great to be writing again.
Delve into an enlightening journey into the mind of Joseph Klein, a revered composer and my former composition professor, as we explore the innovative world of his musical creations on this episode of Music from Humans. Known for his unique approach exploring modular forms, and recombinant properties of music, Joseph opens up about his long-term project, Canetti-Menagerie, which brings literary characters to life through music. Inspired by Elias Canetti’s “Earwitness: Fifty Characters,” Joseph discusses how his compositions have transformed over three decades into a full-fledged theatrical experience. Tune in to learn about the intersection of music, literature, and performance in Joseph’s work.
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Joseph Klein is a distinguished composer renowned for his versatile solo, chamber, and large ensemble works. His compositions span instrumental, vocal, electroacoustic, and intermedia genres, earning acclaim for their “dizzying euphoria” and “confident polyvalence” (NewMusicBox, The Wire). Klein’s music is deeply influenced by fractal geometry, chaos theory, and natural phenomena, often integrating theatrical elements to enhance the musical narrative. Literature also plays a pivotal role in his work, inspiring compositions based on the writings of Franz Kafka, Elias Canetti, Alice Fulton, W.S. Merwin, Milan Kundera, and John Ashbery.
Klein’s innovative approach has garnered international recognition, with his works performed and broadcast worldwide. He has received numerous accolades from prestigious organizations including the National Endowment for the Arts, American Music Center, Pew Center for Arts & Heritage, and the American Society of Composers, Authors, and Publishers, among others. His collaborations feature prominent ensembles and soloists such as the International Contemporary Ensemble, Pittsburgh New Music Ensemble, cellist Madeleine Shapiro, pianist Redi Llupa, and flutists Helen Bledsoe and Elizabeth McNutt. His recordings are available on labels like Innova, Centaur, Crystal, and Navona.
A dedicated educator, Klein holds a Doctor of Music degree in Composition from Indiana University, a Master of Arts from the University of California at San Diego, and a Bachelor of Arts in Music from California State Polytechnic University at Pomona. Since 1999, he has been a Distinguished Teaching Professor at the University of North Texas College of Music, where he also serves as Chair of Composition Studies.
Klein’s research interests include the role of the composer in society, contemporary notational practices, the intersection of science and music, and the work of Frank Zappa. His contributions to music and academia have been showcased at numerous national and international conferences and festivals, solidifying his reputation as a leading voice in contemporary composition and music education.
