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 Lately, David Mallamud (above) has flirted with the idea of becoming a folk singer, but it's likely a passing fancy. |
Drip will be performed at the Musical Arts Center in Bloomington April 7 at 8 p.m. in conjunction with the IU School of Music's Leonard Bernstein celebration. (See story this issue) Drip is the work of Yale University's David Mallamud, a graduate student in composition who received his undergraduate degree at the Eastman School of Music last year. The award includes a $5,000 prize as well as the performance.
Contacted this week on the New Haven, Conn. , campus, Mallamud talked about Bernstein's influence on his own developing career, his admiration for Bernstein's "stylistic freedom" and his anticipation of the Bloomington performance.
The Young Composers Competition was underwritten by The Woodwind and The Brasswind of South Bend, and its president, Dennis Bamber.
Q: Tell us about yourself, David. What brought you into the field of composition?
A: I don't know why I started composing exactly. I guess I always liked creating things. When I was really young, I remember being given a huge pad of paper. I would draw things on it and love the fact that I was the only person who completely controlled the 'goings on' on that pad of paper. It was something of a world in which I could get lost, and yet I had complete control over it. When I first started composing, I guess it gave me the same kind of rush.
I started composing in eighth grade. I wrote pop songs and short instrumental pieces. I think I started because I had a friend who had a friend that composed. Wanting to gain the approval of them both, I started composing. So, despite all the nonsense about the pad of paper, I basically started composing so that people would like me.
I came to Yale because I wanted to be close to New York City, but didn't actually feel ready to be in New York City. Also, having done my undergrad at a conservatory (Eastman), I felt that it would be good for me to be on a college campus. Yale seemed like the right place for me.
Q: Was music in your earlier background? Did you have family influences?
A: My mother sings and plays guitar. She loves folk music and had been very involved with folk music organizations. When I was young she would frequently take me to folk parties where basically everyone either had a guitar, a banjo or a fiddle. Wherever we went, people would be playing music and having fun--it was great. Despite the fact that I loved these parties, it was not until recently that I have had any desire to be a folk singer.
Q: How'd you hear about the Bernstein competition and what motivated you to enter?
A: At Eastman, there is a composition bulletin board where they post information about competitions, summer programs, etc. One day I went to check the board, and there it was. Despite my being a huge Bernstein fan, it was probably the money and opportunity to hear my orchestra piece played by fine musicians that prompted me to enter.
Q: Do you have a mentor at Yale?
A: First semester I studied with Ned Rorem who, fittingly, had been a close friend of Bernstein. I am currently studying with Evan Ziporyn.
Q: Who are your "musical heroes?"
A: I have lots of musical heroes--far too many to name, but I'll name a few. It seems appropriate to start with Bernstein. To see someone who was as amazingly close to and in love with music as he was is completely inspirational. I go through periods in my life where I'll think nothing but Bernstein. There is a stylistic freedom to his music which is mind blowing. I've been listening to Candide a lot lately. It is amazing how he can gracefully move in and out of various styles and yet still maintain his voice.
The music of Christopher Rouse has also had a significant impact on me. He loves to, musically, push things further than one thinks they could possibly go, and then he pushes things a little further--I love it. I have a friend (I call him a friend, but he's also something of a mentor) named Kevin Putz. He is an incredible composer, and I find him completely inspirational. He understands music so well. Every aspect of it is completely natural to him. Being able to be around him, and witness, first hand, his relationship with music has taught me a tremendous amount.
Q: Tell me about Drip.
A: It was very heavily influenced by a Christopher Rouse piece called Bump. Rhythm plays a much more active roll than melody and harmony. I don't know if there is much more to say about it.
Q: What are people going to experience at this performance?
A: Complete and utter boredom. (I've been taught that things get their best reception when expectations are at their lowest.)
Q: How does the title relate to the music?
A: It only relates as there is a repeated note which could be equated to a Drip. Other than that, it doesn't. Orchestral reading deadlines were coming up at Eastman, and I needed a title--I wanted to call it Thump, but due to the fact that it was influenced by Bump, I decided to leave out any one syllable word with an "ump" in it. I thought about the piece and realized that the repeated note could be seen as a Drip and decided to call the piece Drip. I've gotten a somewhat mixed reaction about the title. Most people think that it's lame, but every so often someone will come up with some post-modern rationalization as to why they think it works.
Q: Will you be in Bloomington for the performance?
A: Definitely! I am thrilled to be having the performance. It is such an amazing opportunity.
Q: Have you been to Bloomington before?
A: No, but I've heard that it is beautiful.
Q: What's in the future after graduate school, your aspirations, dreams?
A: I don't know what's in my future after graduate school exactly--probably more graduate school. I'm in somewhat of a transitional state right now--probably because of the temporary nature of the master's degree. As far as dreams, I guess my only real dream or desire is to be able to continue to hear my music played.
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