Don is a practical guy. He said that, really, a composer needs to write for three groups: The person or organization commisioning the work, the musicians who will be performing the work, and the audience who will be (hopefully) supporting the work by their attendance and enthusiasm. And, of course, this all has to be done while satisfying the composer's artistic needs as well.
It always seems to come back to balance. Whether balancing work and family, good food and good for you food (back off!), or the needs of the various components of the artistic endeavor, it comes back to balance. The Middle Way. Some times we do better than others, but we always keep trying.
It's almost like we have to keep working at this our entire lives! What's up with that? :-)
First, let's set our parameters: I am not talking about opera here; that's its own subject, and a vast one at that. I am also not talking about choral music because, well, that's its own subject as well. I shall be speaking of the contemporary solo art song for singer and instrument(s). Most often it's a soloist with piano, but, for example, I saw one piece for voice, clarinet, cello, and piano. The solo voice is the key element here.
It must also be stated that I am by no means an authority: There are VOLUMES of vocal music I have not experienced yet! So there!
First of all, there's the vocal writing. So often, it seems unnatural for the singer. The composer creates angular, dissonant vocal lines. And I understand perfectly well the desire to create new sounds or a mood. But the voice (and the singer) is not the same as an external instrument (or instrumentalist). Already the manner of vocal production for the classical voice renders it alien to the average listener; at a certain point, it's just not pleasant to listen to (and certainly LOOKS uncomfortable for the poor singer).
All too often, the composer is simply insensitive to the text or the vocalist. He writes for the singer like he writes for trumpet. Or she simply writes to achieve a musical effect, while completely disregarding the text.
I know I'm old-fashioned; I know I lean towards the conservative; but I still prefer vocal lines to be somehow related to the natural stresses and emphases of the words.
Finally, there's the singer. I am completely aware of the physics and physiology of vocal production, especially "classical" voice. I know that in order to project in a hall and to protect the voice, much training is needed. But why do so many "classical" singers look like they're in pain? Even when they try to show the emotion of the song in their facial expressions, I still feel they need to make a trip to the bathroom.
Perhaps I'm just corrupted by musical theatre. Maybe I'm just too used to the directness of communication in that genre.
Or maybe some composers need to consider the text and the singer before they stroke their own ego.
Gosh, that was snarky, wasn't it?
