You know I’m a sucker for soundtracks to write by. Sometimes I like to choose them with deliberate care. Sometimes I put something on because the cover looked good, the track names are luscious and I really have no idea what will knock on my eardrums. The odder the better, obviously. It’s hit and miss, but occasionally something blazes out of the headphones and becomes indispensable.
If you’re like that too, and contemporary classical is your bag, you might like the American Mavericks season at Q2 Music. It’s running for three weeks, featuring collections curated by contemporary music icons such as David Byrne and Aaron Copland. All free, by the way. If you’re listening for random discoveries to fire up a session of writing, you couldn’t be in better hands.
You can listen on Q2’s website or on this fab widget, wizarded up by my friend Porter Anderson. I’m attempting to paste it here too but have no idea if it will work, so those of you receiving through RSS, where edits are not possible, might get a kooky bit of code at the end of this post. If it looks like nonsense, ignore it and I’ll be deleting it at MMOAFL HQ. But if you’re lucky, you might get American Mavericks one click closer. Happy writing http://www.wqxr.org/embeddable_player/?stream=q2&showPlaylist=true
If I were to compile a soundtrack for My Memories of a Future Life, it would be two distinct halves. There are the signature piano pieces like the Grieg concerto, the rolling standards from classical repertoire that feature in the story. And my own reworking of Samuel Barber’s Dover Beach.
In parallel to that soundtrack is an undercover, deep-level score that probably no reader is aware of – the music I used as I wrote.
Its contributors are many, varied – and some would say obscure. There’s the electronica artist Murcof, whose tiptoeing tension revealed to me the uneasy questions in Carol’s heart. There is the extraordinary composer-vocalist Meredith Monk, whose glacial boldness became the eerie composure of Carol’s next incarnation, Andreq. (Find a video of Meredith Monk here.) And, less obtusely, Handel with Ombra Cara from Radamisto, which gave me the conflicted core of one scene – brooding, thrilling, relieved – and scared.
I could linger far longer on scenes that changed for ever once I found their music, but I need to avoid spoilers and so brevity must be the rule. So here’s a fellow music-fuelled writer, Porter Anderson, to explain how the process works for him.
Q2 Music streamed a live performance from the Guggenheim in April of the Wordless Music Orchestra performing UK composer Gavin Bryars' "The Sinking of the Titanic." Photo: Q2 Music
Porter says: ‘I’ve used this piece in a scene where a highly placed public figure is contemplating suicide. The setting is an isolated spot by the sea, very late at night—an end-of-the-road glimmer in all directions. The exotic tension of Burhans’s electric violins and those initial, absorbed cadences tell me a lot. There’s a picturesque loneliness that invades the mind when enough negative focus converges, as in the opening of Samuel Barber’s Medea’s Meditation and Dance of Vengeance. Burhans’s initial concentration on a few phrases is overtaken by a walking bass under a sighing, ironic theme.
The unexpected
In the Guggenheim "Titanic" performance, musicians were positioned at remote points along the Guggenheim's famous spiraling ramp. Photo: Q2 Music
‘It shows me that the devastating rock-bottom despair you’d expect in such a bad moment actually has a comforting side, as counter-intuitive as that seems. The disappointments, fears and weaknesses in that thudding hopelessness at the open can become friendly. Burhans gives it to us as a bluesy, street-wise swagger. There’s an attraction, let’s face it, to that nothing-to-lose extreme. Burhans builds his swinging gait, topped by the glissandi of the upper voices, into an almost commercially contemporary theme. An uncomfortably familiar jazz brush on the cymbal, a dutiful, head-down, keep-on-keeping-on gloss to what must be a terrifying moment—because we love our terrifying moments.
Sweet enjoyment in the abyss
By the time he breaks into some rippling piano breaks on the other side of his sax-savvy look into the abyss, my character’s suicide is still fully viable–but not without a confession that there’s a sweet enjoyment, a satisfying sit-down among the woes. And maybe that’s the attraction. Certainly not in all cases, but in my character’s. This could be a clue to the pain at hand. A need to be led through a gratifyingly harrowing litany of qualms to the very edge of this seaside desolation.
‘Currently, the most powerful composers’ voices in my work belong to Pēteris Vasks, Nico Muhly (whose “Two Boys” premiered at the ENO in June), Eleni Karaindrou, Eric Whitacre and Morten Lauridsen (with Muhly, my three choral masters), Gavin Bryars, Missy Mazzoli, and Lisa Bielawa.’
Music is a debate
Porter adds: ‘Music is sometimes a debate, other times an argument, almost a discussion, a chance to turn things over and see if I’ve got my own characters’ bearings clear enough. Or have I taken just the first rock-bottom, down-and-out cliché and stopped there?’
All this from a chance pairing of music and muse.
The source of that Burhans performance, the Meredith Monk video and these intriguing concert pics – is the radio station Q2 Music, which thanks to Porter I’ve recently discovered. Q2 is part of the biggest NPR station, WNYC/WXQR based in New York, the home of some of the world’s most exciting contemporary composers. No matter where you are, you can listen to it on the internet, a constant, 24-hour stream of challenging music, available free.
A magnifying glass for the truth
For me, a novel’s undercover soundtrack has to be music I don’t know. The discovery, note by note, is part of the essential dialogue with my characters and my story. Q2 has it all, fresh and untasted, ready to be the magnifying glass for the truth.
As it was Porter who introduced me to this internet treasure, I’ll leave him with the last word: ‘Q2 is a salon. A glistening, hovering salon in cyberspace. You go in, convene the artists you need, leave the door open for the ones you didn’t know you needed—that’s the beauty of the continual stream—and you get your work done.’
Porter Anderson is a journalist and critic whose column on publishing, Writing on the Ether, appears at JaneFriedman.com on Thursdays. He has issued a matching grant to Q2 Music listeners who would like to donate during the service’s October 18-26 pledge drive. You do NOT have to pledge a penny. This is not a pitch, and the services of Q2 Music are offered entirely free of charge. Porter’s much more interested in bringing together new music with new writings. If you do feel interested in contributing to the non-profit work of this unique NPR affiliate, each $1 you donate will be matched with $1 from Porter, up to a total of $5,000, at Q2Music.org And Porter would love to thank you. Drop him a line on Twitter or at Porter@PorterAndersonMedia.com
My Memories of a Future Life is available on Kindle and in print
You know I’m a sucker for soundtracks to write by. Sometimes I like to choose them with deliberate care. Sometimes I put something on because the cover looked good, the track names are luscious and I really have no idea what will knock on my eardrums. The odder the better, obviously. It’s hit and miss, but occasionally something blazes out of the headphones and becomes indispensable.
My Memories of a Future Life 