Can any kind of music actually be dangerous? This rhetorical question has an obvious answer: it cannot kill you, but something in it scares enough people that the famously oppressive regimes of, say, the Taliban, Stalinist Russia, Maoist China (during the Cultural Revolution), the pre-Reformation Catholic Church, or that tiny town in Footloose all felt that certain music should be duly restricted.
Some sons go camping or on a fishing trip with their fathers when they know that time is winding down. I wanted to create a new musical work with my dad. At first he insisted he was too old to get involved. Just hours after my dad left the planet, I learned that Ansel Adams: America had received a Grammy nomination for Best Instrumental Composition. This felt like my dad was winking at me, grinning and giving me a congratulatory hug from the other side.
One of the most important tools for a composer to develop is an intuition about material, about its possibilities for manipulation and development. But now that I’ve had enough practice turning off that intuition, I can see and hear how it’s not necessarily the material, or even the choice of material, that makes or breaks a piece of music.
Elliott has been a wonderful example of the composer as a knowledgeable, educated person with a broad-based understanding of things. That a composer we respected as a leader would come to a workshop with young students, ask questions that told us what he didn’t know, and take notes, was very impressive. My guess is that at that time in his career, he had achieved a level of self-confidence and comfort with what he was doing musically that allowed him to display without embarrassment what he didn’t know.