St. Martin's Chamber Choir

Composers Forum

Steve Hahn

Question #3: Which, if any, composers have influenced you over the longer term?

Later influences were Samuel Scheidt, Heinrich Schütz, Bach, Beethoven, Mozart, Debussy, Bartók, George Crumb, Henri Tomasi, Charles Chaynes, Miles Davis, John Coltrane, and Return to Forever (Chick Corea).

Question #4: Are you self-taught, or did you study with composition teachers? If the latter, what teachers helped you develop as a composer, and in what ways?

I never studied composition formally. I did a fair amount of composing in my undergraduate theory classes, where I wrote string quartets, woodwind quintets, brass quartets, and a variety of other music. Most of my compositional technique has developed as a combination of the influences mentioned in the previous question and what I learned in theory classes.

Question #5: What composers, living or dead, do you most admire?

SH: Mozart, Stravinsky, Wayne Shorter, Joe Zawinul, Miles Davis, Alphonso Johnson, Kerry Minnear, the Beatles, the Brecker Brothers.

Question #6: What inspires you to write a piece of music?

It can be the sound of a musical group, the sound of an effect. Sometimes it’s the result of experimenting with chords, different voicings. The sound of playing trumpet and singing an overtone can lead to a composition. Often, I’ll be improvising with an effect that generates a sound, which then inspires a composition. Sometimes it can be as simple as thinking about different combinations of modes and developing ideas from that.

Question #7: This is something many people want to know: How do you do what you do? What is the process by which you write a piece of music? 

First comes the inspiration, which was covered in the last question. For me, writing a piece of music is based on sound. Sometimes I’ll sit down and score a piece right out of my head, but other times I’ll hear something in my head and instantly apply it to an instrument to find out what it will sound like outside my head. If I like it, I’ll notate that combination of motifs and expand on that simple idea, using compositional techniques to develop further elements. Whether it takes a homophonic direction or a contrapuntal feel is something that develops out of the music. The process may be a product of a percussive approach; it may be based on melody; it may come out of harmonics; it may be a theoretical, planning exercise—any parameter of music can be the main element of the process, which is what creates diversity in my music.

Question #8: How does that process change from piece to piece? 

Question #9: What are the easiest aspects for you of writing a composition? 

What’s easiest for me is developing a motif; once I hear that, I’m off to the races. My CD sh, for example, is based entirely on a very few simple motifs. Everything is put together compositionally from different permutations or combinations of those motifs.

Question #10: What are the most difficult aspects for you of writing a composition?

What is most difficult is coming up with something that hasn’t been done elsewhere. With all the music that’s been written over the years and the somewhat limited combination of harmonies available, that’s always a concern.

Question #11: How do you know when a composition is finished?

I’m never sure that a composition is finished!

Question #12: Do you consider your process as a composer to be primarily intellectual? Emotional? Spiritual?

It’s a combination of all three, with intellectual and emotional more to the fore. When I’m composing I’m thinking (intellectual), and that often spurs emotion. When I’m developing a motif, that’s primarily intellectual. What is especially spiritual for me is when I perform my music for an audience. The interaction between the composer/performer and the audience is where the magic takes place. A humorous anecdote that exemplifies that interaction occurred once when I was playing my compositions at an outdoor fair. A tiny girl came up and was mesmerized by the music. Her parents eventually wanted to move on, and they tempted her with ice cream. Her response: “I’m not leaving. This [the music] is better than ice cream!” Now, that’s spiritual!

Question #13: What emotions do you feel as you compose a piece of music?

It varies depending on what I’m thinking about as I’m composing, which in turn influences the composition that results. Sometimes it’s sadness, as in a tribute piece to a favorite musician who has died (such as my tribute to Miles Davis on sh). Sometimes its elation, as when an idea is fresh and spontaneous and I like the way it’s developing Reactions to my compositions reflect emotional responses on the part of the listener, which makes me wonder how much my mood at the time I wrote a particular piece influenced the composition. Perhaps that’s inevitable?

Question #14: What emotions do you feel right before a world premiere of one of your compositions?

I’m always nervous. It is definitely a moment in time, and it’s there and gone. To date, I’ve performed every world premiere of my own compositions, which only adds to the nervousness. Sometimes the response is very gratifying, though, which is part of why I keep doing what I do.

Question #15: What are some of the highlights of your career as a composer?

The last year the National Endowment for the Arts gave grants to individual artists, I was one of just twelve jazz composers in the United States who received a grant. I was especially pleased because the grant was awarded based on my first CD, at which time I’d been writing for the Chapman Stick for only a few years. Also, my CDs, which contain my compositions, have been reviewed internationally, to very positive response. Just this week (July 28, 2005), one of the top Chapman Stick players was interviewed by KyndMusic Right Action, an international magazine, and he was asked what Stick players/composers are his favorites. I was honored to be one of the four he mentioned. I’ve had people tell me over the years that they’ve been heavily influenced by my music. That’s pretty much the ultimate compliment.

Question #16: How supported do you feel in your compositional efforts? This can be addressed at the individual level (e.g., friends and family members) and at the level of society (e.g., government, music education in the United States).

I’ve received a lot of support from some individuals. Earlier in my career, I received grants from a variety of government sources and from the Scientific and Cultural Facilities District [a six-county region in the Denver area in which a percentage of sales taxes goes to support scientific and cultural endeavors]. Sadly, many of those grants no longer exist. The National Endowment for the Arts and the Colorado Council of the Arts no longer give grants to individuals (the NEA only supports jazz masters); nor does the SCFD in Denver County. There are very few sources of financial support for individual artists. It is difficult for someone who has been educated in music to go head-to-head with generations in which music has not been taught in the schools and in whom an appreciation for music and the arts in general has not been cultivated. Clear Channel puts a bland, uncreative “brand” of music on the airwaves, and they dominate the media, so that’s what people hear and think is good music.

Question #17: This may tie in to the previous question, but overall, what are your greatest challenges as a composer?

Keeping inspired to write for limited audiences. I haven’t found a lot of people who will come out regularly to hear innovative, progressive music on an unusual instrument such as the Chapman Stick.

Question #18: What are your greatest rewards as a composer?

The ability to compose music is a great reward. I have somehow been able to reach some people around the world, and that’s very gratifying. My CDs have sold in more than thirty countries and been reviewed worldwide, which makes me think someone somewhere is listening. I have also had the opportunity to play my music in over a dozen European countries and Canada, as well as a number of U.S. states, which has been both fun and rewarding.

Profile of composer Steve Hahn