Going by what I’ve been sent so far, I imagine most of the scores that I’ll be posting in the CNP are going to be pretty idiosyncratic in one way or another. (Seriously – stick around.) Chris Opperman writes from a more conventional place, at least notationally speaking.
But we like to be reasonably non-partisan here, so Chris’s submission is very welcome. Besides, it would be strange to ignore the role of high quality DTP publishing and the continuing role of more or less standard notational practices in contemporary music making. Kagemusha is a tone poem based on Akira Kurosawa’s 1980 film, and has recently received its world premiere from the Berklee College of Music Symphonic Winds, conducted by Dominick Ferrara. Its extended triadic harmony, groove-based rhythms and stratified orchestration sit in that zone between Stravinsky and rocky postminimalism characteristic of a lot of today’s music.
Opperman also composes in a sweet minimalist vein, as reflected in his Klavierstücke: