Berkeley Symphony EarShot Under Construction Readings Composer Spotlight – Composer B.P. Herrington
Composer B. P. HerringtonComposer B.P. Herrington, who will be participating in the Berkeley Symphony EarShot Under Construction Readings in February, takes us through his composition process and the impact of being chosen for the Readings has had on his piece, A Region Lovelier Far.
ACO: What was the inspiration for your composition? How would you describe your composition process?
B.P. Herrington: My compositional materials tend to be very humble, drawn from the rural culture of East Texas, and my music is intuitively filled with the rich ornamentation and rhythmic character of that music. However, my treatment and development of these materials often involves a tremendous amount of rigor: post-tonal processes such as serial organization, rotational arrays, various games. Hopefully this coexistence of intuition and rigor translates into a rich listening experience.
I compose by hand on a full orchestral score. I sketch out basic ideas on a separate sheet of manuscript paper then flesh it out on the full score, making every line as unique for each instrument as possible.
ACO: Since the selection of your work for the Berkeley Symphony EarShot Under Construction New Music Readings, how have you further developed your piece in preparation for the readings?
B.P.H.: Before I received this opportunity, my piece was just a frustrating, unrealized dream. After I heard I’d been accepted, the piece took on a new life. There is nothing in the world like writing a piece for a guaranteed performance. Having the piece read in-progress also removes the mortal dread of miscalculation.
ACO: What do you hope to get out of this experience of having your piece read by the Berkeley Symphony and in working with the mentor-composers?
B.P.H.: This piece explores ideas I’ve only thus far pursued in a chamber music setting. I’m eager to absorb and incorporate all the advice and feedback I receive.
ACO: What are you most looking forward to in participating in these New Music Readings?
B.P.H.: Hearing the music come alive under the direction of Joana Carneiro and the fantastic musicians!
ACO: What would you like to say to other composers who may be interested in applying to future New Music Readings?
B.P.H.: This opportunity is one-of-a-kind.
American Composers Orchestra is grateful to the many organizations that make its programs possible including Arthur F. & Alice E. Adams Charitable Fund, Altman Foundation, Amphion Foundation, Benevity, Aaron Copland Fund for Music, BMI Foundation, BMI, Inc., Charity Navigator's Giving Basket, Cheswatyr Foundation, Edward T. Cone Foundation, Communities Foundation of Texas, The Gladys Krieble Delmas Foundation, Alice M. Ditson Fund of Columbia University, Fan Fox and Leslie R. Samuels Foundation, Ford Foundation’s Good Neighbor Committee, Give Lively, Francis B. Goelet Charitable Trust, Fromm Music Foundation, Steven R. Gerber Trust, G. Schirmer/Wise Music Foundation, The Hearst Foundation, Howard Gilman Foundation, The Adele and John Gray Endowment Fund, Jephson Educational Trusts, Jerome Foundation, MacMillan Family Foundation, Mellon Foundation, New Music USA’s Organization Fund, The New York Community Trust (Musical Arts Fund, Clara Lewisohn Rossin Trust, and Edward and Sally Van Lier Fund), Pacific Harmony Foundation, Paypal Giving Fund, Rexford Fund, Sphinx Venture Fund, TD Charitable Foundation, Turrell Fund, UKOGF Foundation, Virginia B. Toulmin Foundation.
Corporate gifts to match employee contributions are made by Goldman Sachs, Deutsche Bank, Triton Container International Incorporated of North America, and Neiman Marcus.
Public funds are provided by the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, Office of Brooklyn Borough President Reynoso, and the National Endowment for the Arts.
.png)
