Modern music, personal tragedy inform Carnegie Mellon professor's classical compositions

Feb. 18—Nancy Galbraith has been publishing her orchestral musical compositions since 1979. But even four-plus decades is a drop in the bucket, compared to the centuries' worth of classical music written over the years.

Galbraith, 72, composition chair and professor at Carnegie Mellon University, said her composing style has come a long way since her first published piece in '79, "Haunted Fantasy." And everything from pop music to the emotional reverberations of losing a dear friend play a role in how she shapes her compositions.

Three recent pieces were released on "Everything Flows," an album recorded by the Boston Modern Orchestra Project and featuring soloists with whom Galbraith has worked at CMU.

"Working with (conductor) Gil Rose and the Boston Modern Orchestra Project has been an aspiration of mine for many years. I was present for all the recording sessions and it was such a joy to witness their incredible artistry and to listen the rich, beautiful sound they make," she said.

Galbraith spoke with TribLive about the role of modern classical music, her writing style and creating music for her fellow musicians.

This interview has been edited for length.

Q: With so much music in the classical canon, how does a modern composer strive to create new sounds and pieces that capture peoples' attention?

A: As a modern composer, it's not only my duty to continually seek new avenues of expression, but it is my joy and passion to do so. I've never fallen into a comfortable mode of complacency; it's more fun and rewarding to always experiment and explore. So, without even trying, I have managed to "capture peoples' attention" by always having something new to offer. I should also note that, growing up in a typical American household, I have been influenced by all the music that has surrounded me my whole life. That includes not only the centuries of classical music you mention, but also all the many and various genres of rock-and-roll, jazz, and music from world cultures.

Q: How does a lengthy three-part piece like "Concerto for Flute and Orchestra" begin, composition-wise? Do you start with a particular melody in mind, or do you build up the orchestral backdrop before starting on a melody?

A: I begin by sketching ideas at the keyboard beside my computer, then writing them into my Sibelius software, where I have created a minimal score with a few strings, woodwinds, brass, and maybe one or two percussion instrument. From there, I continue to sketch the whole piece until I'm ready to expand the "draft" score into a full orchestral score. It wasn't always like that. My students are amused and dumbfounded when I explain to them that, way back before personal computers, I sat at the piano, sketched onto score paper, then made final copies on vellum with a Rapidograph pen.

Q: The earliest piece listed among your compositions, "Haunted Fantasy," was published in 1979. How has your composing style evolved over time from then to now?

A: Quite a bit! Back then I was somewhat influenced by the "avant-garde" style of the mid-20th century, although I was never ready to abandon melody, tonality and rhythm. Then I discovered minimalism and post-minimalism, which fit me more comfortably. These modes of expression served as a launch pad for the personal style and voice that I have been writing and growing with for the past several decades.

Q: The middle section of "Violin Concerto No. 1" has a very unique title, "Eggshell White Night." How did you settle on that title, and how does the music in that section evoke it?

A: I served as organist and choir director at a local Lutheran church for over three decades. Twenty-five of those years were spent in collaboration with the pastors, George and Caroline, who began their call in 1989 and quickly became our very best friends. A few short years after they retired, Pastor George suffered a brain aneurysm and died after a weeklong coma. My husband, Matthew, wrote a poem in which he described George's period of unconsciousness as the "eggshell white night."

Q: What strengths do the three soloists — West Virginia Symphony principal flutist Lindsey Goodman, Boston Chamber Music Society violinist Alyssa Wang and Abby Langhorst, percussionist for The Brass Roots band — bring to the pieces they perform?

A: I was absolutely writing for them, and I love that this album highlights their unique talents. It also points to the fact that I love working with the numerous world class artists living and working in my hometown of Pittsburgh. And I have so many of them to thank for my success here and around the world. Several truly great conductors occupy that list, who have so graciously commissioned and programmed my music through the years.

Patrick Varine is a TribLive reporter covering Delmont, Export and Murrysville. He is a Western Pennsylvania native and joined the Trib in 2010 after working as a reporter and editor with the former Dover Post Co. in Delaware. He can be reached at pvarine@triblive.com.