The 2017 edition of The Industry and wild Up’s First Take is right around the corner. On February 24, the world’s most audacious opera company presents scenes from works-in-progress by six composers. Full details on that are up at theindustryla.org/projects/first-take-2017. Over here at New Classic LA, we’ll repeat our tradition of one composer interview per day in the week leading up to it. You can read all of the interviews – including the 2015 interviews – at newclassic.la/firsttake.
Today we’ve got composer William Gardiner discussing his work with Thomas Rawle, All Is For The Best.
Describe the work you’ll be presenting at First Take.
Our piece is an animated video opera called ALL IS FOR THE BEST. It consists of an animated film with music in close sync. We wrote the music and conceptualized it together, while I took care of the orchestration and Thomas did the animation. However it was a close collaboration and we talked about every element together. In this piece we wanted to give primacy to the directness and emotiveness of music and moving images. Both music and images have a special ability to be abstract and vague yet expressively dense and specific, and we were interested in trying to make a piece in which this quality of music and image is the life-force of the piece. Thematically, the piece is politically engaged–in some ways it could be thought of as a modern descendant of Voltaire’s Candide–but its modus operandi is not particularly verbal or literal, and we hope that causes the audience to have take an active role in interpreting it.
What’s your background in writing opera, or for voice?
This is my first opera project, though I have written a piece for soprano and early music ensemble before. In terms of my relationship to opera, it’s probably worth mentioning that I grew up listening to baroque opera/Bach’s passions, and later became interested in songcraft in rock music. Thomas has more experience in writing for voice in that he has spent the majority of his career as a singer and songwriter. He performs and records under the moniker DRELLER and has released music through Terrible Records (US) and Goodbye Records (UK).
Did your composition process change at all when writing in this medium?
Hopefully it did not change very much. We tried to bring image, music, and singing together in a way that retains or even amplifies what we love about those things, rather than having them make compromises in order to fit together. However, working in a very fluid, multi-artform collaboration was really challenging (in a good way) and we’ve pushed each other further than we thought we could go.
What else are you working on that you’d like people to know about?
Next up for me is a cello concerto. Thomas is about to make the next DRELLER release, which is going to be four tracks with accompanying video art.
Check back tomorrow for our next interview, and get your First Take tickets at https://www.eventbrite.com/e/first-take-2017-and-second-take-bonnie-clyde-tickets-27916364598.