St. Martin's Chamber Choir

Composers Forum

Terry Schlenker 

More recently, as I have begun to focus on choral music, I have loved the music of Frank Martin, Arvo Pärt, Einojuhani Rautavaara, Hugo Distler, and Eric Whitacre.

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

I consider myself primarily self-taught. I studied composition for a short time with an organist at the University of North Dakota, Robert Wharton. Even though he was not primarily a composer, he was exceptionally thoughtful and helpful. Unfortunately, my experience with my composition teacher in graduate school was not positive. I studied at a time when the avant-garde was embraced. My music was considered much too conservative. Any music that was clearly not blazing a new path was considered pointless. I nearly left composition to study other area of music.

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

I probably most respect those who share my vision. These days, I find music to be my deepest expression of the spiritual and the emotional. Rautavaara believes music exists in another dimension, and it is our duty as composers to accurately transcribe it into our dimension, sort of like the sculptor seeing the sculpture in the block of marble before beginning the work.

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

Since I find music to be a deep emotional or spiritual expression, I am often inspired by my deepest emotions. In the moment, they may not be the most pleasant emotions. I have written in times of deep sadness and anguish. Often, the emotions will lift after I have expressed them musically. I consider these pieces of music to be a great gift from God, a gift of healing and of peace.
I am also inspired by texts. I often coincidentally discover poetry that seems to express exactly what I am experiencing and feeling at that time in my life.

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? 

I happen to be an improviser, and I write at a keyboard. The text and my emotions at the time generally give me some initial inspiration to improvise on. This has become quicker and easier over time. In recent years, a piece of music often will come to me in a day or in a few days. I tend to like to capture the emotion or the spirit at the time I am feeling it. If I procrastinate, I fear that I may lose the emotion or spirit that is inspiring my expression. I believe the piece would suffer in consistency. After I have written these sketches (the raw notes), I move on to “orchestrating” the piece. This may not make sense to people, since I am writing choral music these days, but to me this is the process of assigning parts. This process is creative in a different way, and I find it very enjoyable. I tend to use the skills I acquired when I was writing orchestral music. After that, the piece goes to print with Glen McGrath, an exceptionally gifted music printer. I also trust him as an editor if I am indecisive about any aspect of the piece. The process tends to be fairly consistent from piece to piece. I really wouldn’t qualify any aspect of it as difficult or easy; I find it to be a very joyful part of my life in general. 

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

The process tends to be fairly consistent from piece to piece.

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

I really wouldn’t qualify any aspect of it as difficult or easy; I find it to be a very joyful part of my life in general.

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

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

I just know when it is finished!

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

Emotional, spiritual, and definitely not intellectual. For me, the emotions are the language of the soul; therefore, the emotions and the spirit are strongly connected. I never embark on a piece and think, “I am going to use such and such a technique.” I simply put on paper what comes through me. People occasionally analyze my music intellectually, and I am usually surprised at what they find!

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

It is not the music that results in the emotions but the emotions that result in the music.

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

For many years, I lived with deep insecurities about my music. Therefore, I wrote for about twenty years without seeking performances. When I finally felt secure enough to put my music out there, I was still extremely nervous about how people might respond to it. Since writing music is such a deeply personal expression, people’s responses can feel like a commentary on who you are. The longer I do this, however, the more secure I feel. If I have a premiere with St. Martin’s, it is important for me not to be nervous, as I have a contribution to make as a singer. The older I get, the more I am able to internally talk myself out of the nerves.

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

The world premiere of my Mass for Double Choir was certainly a great highlight. Any time I feel I can get an audience to feel what I was trying to express is also a great joy to me. I felt that way about the premiere of Timor et Tremor in June [2005]. Hearing my music or an interview on KVOD is always wonderful. In my earlier years, my graduate recital and winning the Young Artist’s Orchestral Composition Competition were moments of deep pride for me.

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).

Locally, I feel extremely well supported. Tim Krueger and St. Martin’s Chamber Choir have been very instrumental in launching my career as a choral composer. They continue to provide the stellar, flawless performances and recordings that are essential to my success as a composer. The members and former members of the board of St. Martin’s have also been very supportive. Cheryl Carnahan has given me great support and understanding, being a musician and having a brother who is a composer. Mark Sheldon was a very strong supporter and was instrumental in having my music heard on KVOD and radio stations across the country. He introduced my music to Monika Vischer and Dan Dreyer, who seem to continue to believe that my music needs to be heard in this way. Sue Coffee of Sound Circle and formerly with the Denver Gay Men’s Chorus continues to support and commission my work. I have numerous friends who never miss a concert.
     Finding my voice beyond this has not been as easy. Publishers are businesses that look for music that is marketable and has a wide appeal. My music tends to be too challenging and introspective for them. Directors of professional choirs get piles of music mailed to them; therefore, it is difficult to get them to even look at the music of a composer who is unknown to them.
     I am extremely grateful for the support I have had, and I consider what has come to me through music to be a great gift. I try not to ask for more than what comes to me.

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

Finding the attitude I spoke to in the previous question. Living a life free of expectation, and living in gratitude for the gift of God’s expression through me, regardless of the result.

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

Touching an audience or even that one person who could not voice or feel their experience or emotions until they heard the music.