Interviews

Marilyn Shrude is an extraordinary composer who has received countless performances of her works both in the US and overseas. Currently she teaches composition and is the chair of the Musicology, Composition, and Theory departments (MuCT) at Bowling Green State University in Ohio. I had the pleasure of studying with her while I was working on the Master of Music degree from BGSU. Recordings of her music are available on labels such as Capstone, Albany, and New World Records. In June 2001 the BGSU Board of Trustees named Marilyn Distinguished Artist Professor.

http://www.bgsu.edu/offices/pr/news/2001/june01/marilyn_shrude.html

This interview with Marilyn Shrude is the third in the Contemporary Composer Interview series exclusive to New Music Forum.

First off I would like to thank you for consenting to the interview. My first question for you is how did you first get into music?

I was always a musical child--singing, dancing, etc. In the second grade, I signed myself up for piano lessons. (I attended a Catholic school and the nuns offered lessons throughout the school day.) The only problem was that my parents did not have a piano and could not afford one. We also lived in an apartment building in Chicago, so there was the noise factor as well. The nuns did let me take lessons and arranged to have me practice at school during lunchtime. This worked fine for a while, but they soon told my parents that I had talent that should be seriously encouraged. My parents bought a piano the following year and the rest is history.

When did you compose your first piece? What was it?

Young pianists often make up tunes as an alternative to serious practicing, and I, of course, did this. The first composition I tried to actually write down was a Mass that I composed when I was about 12 years old. The notation process was extremely frustrating, so I gave up before it was completely finished. I still have the manuscript.

Describe the experience of your first performance.

My first performance was as a sophomore in college. A very talented friend wrote a play, for which I wrote the music (about 45 minutes in length). I was somewhat terrified at the thought of public performance, but received an incredible amount of support from my peers. It was recorded on an old Wollensak tape recorder, and the quality is anything but good. However, I do have a copy that is very precious to me.

Who have you studied composition with?

Alan Stout (Northwestern University) was my first composition teacher. I was part of his composition class as a master's student, even though I was majoring in music education. Had it not been for his guidance, support and generosity, I would have never had the courage to actually pursue composition seriously. I had written several pieces before this time, but only on my own.

Which composers influenced your music when you first started?

I remember being mesmerized with Berio (Folk Songs and Sinfonia) and Lutoslawski (Venetian Games) when first studying with Stout. It was as if a whole new sound world was available to me. I could not stop looking or listening.

Which composers do you draw inspiration from now?

I am inspired by all types of music. Listening is very important to me, and I try to stay in touch with what is current. This is often difficult, because many pieces are not commercially available. Because of our annual New Music & Art Festival, we receive a wealth of music from composers all over the world (around 500 works submitted annually). This is a non-discriminating collection, of course, but that is part of its beauty. One is able to see/hear a cross-section of all that is happening.

I am still drawn to certain staples of the 20th century—Bartok, Messiaen, Berio, Lutoslawski —and continually reference their works as needed.

What do you consider your best experience as a composer?

There are probably several. One is definitely the interaction I have had with great teachers (both those at my undergraduate school, Alverno College, and those in graduate school at Northwestern). Their support and encouragement made all the difference to me.

I’ve had the privilege of working with some wonderful performers, who have taught me so much about composing. My husband, John Sampen, is at the top of that list.

The students—they are also an inspiration (at least on most days).
Several events stand out as outstanding experiences—winning the Kennedy Center Friedheim Award for “Psalms for David” and receiving the Academy Award for Lifetime Achievement from the American Academy of Arts and Letters. This type of recognition is invaluable.

As a student I tend to draw a lot of inspiration from my teachers. You mention that your students are inspiration to you. In what ways do they inspire you?

Composition is one of the most difficult things one can do in music. I am inspired when I see my students working hard-so many people choose easier career paths. Often, too, students come up with unique problem-solving techniques. I'm always happy to learn something from them. Finally, so many of them are successful individuals who have made a positive impact on the field. That's very rewarding as a teacher.

What is in your CD player right now?

Interestingly enough, Messiaen’s “Quartet for the End of Time” is in my office CD player at the moment. I bought a new recording and happened to listen to part of it this weekend while I was working. More often in the past few weeks, though, the CD player has had graduate and undergraduate composition applicants’ music in it.

What are your current projects?

I just finished a large orchestra piece for the Hofstra University Orchestra (premiere on April 27). Writing orchestral music is exhausting, so during my recovery period I usually work on editing and revising older pieces. In the next few weeks I will begin a work for an extraordinary tubist, Velvet Brown.

Why do you compose and what is your general philosophy about composition?

It took me awhile to realize that composition was a good fit for me as a musician. I could maintain control of the situation and was intrigued with the process of creating a work that was mine. The tedium of practicing was something I never enjoyed. I had a fair amount of early success as a composer, so this served to encourage me to do more.

General philosophy? Everyone has the potential to compose and should explore that side of their musical personality. Whether or not one has the stamina to stick with it is another story. Someone recently said that composing should be like writing a letter-I like that analogy. You have something to say, and you say it.

Marilyn, I want to thank you for participating in this interview. The final question I have for you is: what advice would you give to young composers?

Follow your dream for as long as you can. If you and your family are starving, then look for something that will help you put food on the table.

Thanks for inviting me to do this.

More information on Marilyn Shrude can be found on the Bowling Green State University College of Musical Arts website. http://www.bgsu.edu/colleges/music/

Brian Bice is the co-owner and content manager of New Music Forum.