A conversation between Terrie Harman, Director of Music, and Roger Rudenstein, Composer-in-Residence at South Church.

On Sunday, August 22, we will hear the exciting World Premier of “War No More – 4 pieces for cello and piano” written by Roger.

Terrie Harman: You are a composer of new music.  What is “new music”?

Roger Rudenstein:  My compositions are in the classical genre and are, of course, “new” in that they have not been composed before.  I do not try to imitate the style of any particular classical composer, but have, over time, developed my own style. I’ve seen others define “new music” in terms of certain 20th century composers, from Stravinsky to Glass, but I feel that new music is whatever is being composed by living composers.

Terrie:  How did you get interested in new music?

Roger:  I was exposed to classical music as a child by my parents and developed a life long love for it. I started composing in high school but stopped after I read a book asserting that new music had to be atonal, which is to say, that it should sound consistently dissonant. Since I got no enjoyment out of that type of music I, unfortunately, gave up composing and went into drama. After college I realized that this was just someone’s opinion, and I was free to do my thing so I took up composing again. Although the atonal restriction persisted in academic circles for some years, most current new music composers do not heed it any more.

Terrie: Who were your teachers?

Roger:  In high school I taught myself, but when I resumed, as an adult, I studied with Fu Yuan Soong and Walter Hilse, both New York composers of note. After that I learned a great deal from the Teaching Company series by Robert Greenberg, a composer and professor of musicology. I also gained a lot from listening to the works of other composers of all kinds including popular music and folk music.

Terrie: Describe the process of your composing.

Roger: I sit in front of a computer and as the music enters my mind I type it into Finale, a music notation program that many composers use. I play it back, using sampled instrument sounds and then begins an editing process that can last for a while until the piece is as good as I can get it. During editing I take care not to smooth over the raw emotions that came out in the music when the piece was first created but, if anything, try to extend them.  Sometimes I have an idea of what the music is about before I compose it, but, often, it’s the other way around – once I’ve created it I realize what it is reflecting.

Terrie: You are Composer-in-residence at South Church.  What attracted you to South Church in the first place?

Roger:  My wife Marilyn and I moved to Portsmouth in 1995 to be near our daughter, son-in-law and grandchildren. Aside from having family members here we felt very isolated. We had always thought about joining a Unitarian church but, as people who had never joined any temple or church we were very hesitant. We wanted to become part of a liberal community and, when we finally got up the nerve and attended South Church, it became immediately obvious that this was the place for us.

Terrie: You are in the process of composing a piece to be premiered on October 31st during worship. Describe that process and how it differs from your usual compositional process.

Roger:  Prior to writing the piece, I met with the church youth to identify the themes to be included in the piece. They were very helpful; many played instruments and all enjoyed listening to music. The themes that emerged from these discussions were:  “We are all the same/we are all different”, “Justice, equity, compassion”, and “We search for truth and meaning”. These themes all resonate deeply for me. I’m now in the composing phase; several weeks ago the basic theme music was played in the church and I got a lot of positive feedback.

Terrie:  What else have you composed and how have others reacted.

Roger:  I have composed six operas and many other pieces for orchestra or chamber ensemble. In general I have gotten a very favorable reception from audiences as well as critics. For example, both the New York Times and Daily News praised me for my opera “Faustus”, which premiered in New York City. My opera “Ulysses”, based on the novel by James Joyce, was produced here in Portsmouth at the Players Ring and received a rave review from the Herald. Fanfare, a leading music magazine, gave me kudos for my work “State of the Union”, an anti-war work released during the Bush years. I have won the Masterworks of the New Era prize twice and have recordings and digital downloads on the ERM and MMC labels on virtually every web music store including iTunes and Amazon.com. In addition, my audio-only satirical opera which premiered on the Internet, “The Devil and George Bush”, has been downloaded thousands of times and has been termed “hilarious” by critics and listeners.

Terrie: A collection of pieces for cello and piano that you also composed is going to be premiered at South Church on August 22 during the service. Was that piece written for South Church?

Roger:  Yes and no. I had composed most of it over the past year so it was certainly influenced by South Church.  The name of the collection is “War No More - 4 pieces for cello and piano” and it will be played during a service that will feature a statement of conscience against the violence and destruction of war. Much of my opus as a composer had been influenced by the state of our nation and the world: the constant war and greed that will destroy us unless we can end them and replace them with better, life-affirming values. I am glad that I am part of a community that is working to make this world a better place for all, and hope, through my musical compositions, to aid that effort.