Young composers who came of age in the 1960s found themselves faced with a question: should they adopt the intellectually fashionable post-serial, atonal style of composition developed by Arnold Schoenberg’s followers, or return to a more accessible and tonal musical language, neo-Romantic, neo-Classical, or Minimalist in nature?
For American composer William Bolcom, who turned 20 in 1958, the first option was not appealing. “I had the credentials and the chops to write like that if I wanted to,” he said, “but I said ‘to hell with it.’”
According to Bolcom’s teacher and mentor, French composer Darius Milhaud, Bolcom was “as gifted as a monkey.” Bolcom was a fabulous pianist with a passion for American ragtime and popular song, and distinctly American elements and accents crop up in his compositions. Bolcom says he prefers to live, as he puts it, “in the cracks” between opera and musical theater, tonality and atonality, highbrow and lowbrow.
Bolcom’s chamber work, Five Fold Five, for example, premiered on today’s date in 1987 at Saratoga Springs, New York, by pianist Dennis Russell Davies and the Philadelphia Woodwind Quintet. The piece starts off flirting with atonal elements, but ends with something that sounds a lot like boogie-woogie.
William Bolcom (b. 1938): Five Fold Five; Detroit Chamber Winds; William Bolcom, piano
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