Meet Composer Brian Wilbur Grundstrom
Composer Brian Wilbur Grundstrom is classically trained in piano and music theory from Gettysburg College. He currently lives and works in Washington DC, composing for film, orchestra, piano, and recently musical theatre. Earlier this month I had the pleasure of sitting down with Brian to chat about his music, his career, and his feelings on the many technological advances that have changed the music industry.
Check out Brian's video here at Creators Across America. Also be sure to check out our entire Creators Across America series on our YouTube channel!
Chelsea L. Richardson
Copyright Alliance
please visit www.brianwilbur.com for more information
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The American Music Center asked me to blog at the DanceUSA conference. The following is my blog posted at www.NewMusicBox.org VNPAC: The Last Dance Sunday, June 20, 2010, The new buzz word: “Authenticity.” By day three at the Dance/USA conference, I found it most interesting that the theme of honesty, authenticity, and being true to oneself emerged in most of the sessions I attended. This integrity I’m sure is also important in music, and probably most other art disciplines as well.
The conference had four different tracks for the breakout groups: Management, Artistry, International Exchange, and Audience Engagement. I discovered that the Artistry track was the most interesting to me. The plenary session on marketing may have been more applicable to the marketing folks, but I suspect that even some of them found the discussion about Amtrak and hockey more amusing than helpful. The two artistry breakouts I attended today were “The Contemporary Evolution” and “To Fuse or Not? Fusion and World Dance.” The first session moderated by Co-Director & Producer of MAPP International Productions Cathy Zimmerman, was in essence about alternate conceptions of dance. Holding the audience spellbound, John Scott, the artistic director of the Irish Modern Dance Theatre, told a marvelous story about his interaction with asylum seekers. He was able to provide a safe haven through dance for these survivors of torture, and the response he got was amazing. The fact that these people were able to really express themselves through dance, when they had such need as well as convincing stories to tell, made for an honest and authentic expression that Scott felt he had to put on the stage. The fact that these were not professionally trained dancers was equally vital. In addition, the political climate of having 65% of the public vote in a referendum to send these asylum seekers back home made seeing these very same people on stage quite an eye opener. Apparently very few of these asylum seekers actually gain official status as refugee.
Dean Moss, director of Gametophyte, had a similar experience of creating authenticity by placing audience members on stage as the focus of attention. A trained dancer/actor will never be able to recreate the vulnerability of an audience member suddenly thrust upon stage in the same way. Muna Tseng, founding and artistic director of Muna Tseng Dance Projects Inc., echoed Scott’s story in a different way from Moss. She told of how she was raised in Hong Kong and emigrated to North America at a young age. Unable to express herself verbally, dance was her salvation. Later while choreographing a work about the relationship of mother to daughter, her authenticity is drawn from the relationship with her own mother, who happens to die during this process. Chloe Arnold of Chloe & Maud Productions and DC Tap Festival spoke of how her art was somewhere between modern dance and hip hop, and that she finds it hard for either to really embrace her. The form in which she can express herself the most honestly does not fit neatly into a box.
Moderated by Director of Dance/Metro DC Peter DiMuro, the same theme of authenticity was continued through the second session about fusion. DiMuro asked the panelists to talk about their “Ah-ha!” moment. Founder and Director of Urban Artisty Junious “House” Brickhouse told of naively wearing an American Indian necklace called a “choker,” and being told that its purpose was “to stop arrows not bullets.” By not understanding cultural and traditional values, he had inadvertently caused disrespect. With participation of each of the panelists, including Artistic Director of CONTRA-TIEMPO Ana Maria Alvarez and Executive & Artistic Director of CounterPULSE Jessica Robinson Love, DiMuro broke the audience into small discussion groups. When applied to the fusion of cultural elements in dance, the importance of authenticity was discussed in my group. If one understands and respects the elements that are being borrowed, then there will be more integrity. Exactly which parts of a tradition need to be respected are personal. For example, while touching may not be part of a traditional dance style, when melding that style with another, it is up to the individual dancer whether or not touch is acceptable and requires respect. Also discussed was the fact that there are no really pure forms of dance, that every form, including classical, is an amalgamation of what came before, and that forms mutate and change over time. For example, it was thought terrible when toe shoes were introduced to classical ballet, although it is hard to imagine it without today. I was able to draw parallels in the music world. When drawing inspiration from other places, it is important that your own voice still come though. When assimilating foreign influences, being honest to yourself requires incorporating the borrowed elements into your own voice. It is essential that the audience feels your own authenticity, or your music will be not be sincere and communicate.
The evening concluded with an honors ceremony at the lovely Atlanta Botanical Garden. The honorees included Richard Caples of the Lar Lubovitch Dance for his 26 years of service, and Carmen De Lavallade. De Lavallade spoke eloquently of being a black dancer in a not-always-so-friendly time, and all her stories of the greats from bygone years, including Josephine Baker among many others, was inspiring. At this last reception, I realized that a multi-day conference provides a unique networking experience. The extended time allows for more than one casual encounter with the same person, and in a non-pressured setting. I ended up exchanging business cards with several choreographers with whom I was able to connect. Who knows what may come from this conference. One day I may even get a call asking for music from a relationship that was planted at the botanical gardens. Brian Wilbur Grundstrom |
DanceUSA conference day 2 – Dance lessons
June 19, 2010|
The American Music Center asked me to blog at the DanceUSA conference. The following is my blog posted at www.NewMusicBox.org VNPAC: Dance Lessons by |
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Friday, June 18, 2010, |
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Attending a roundtable with dancers, I realized that they face a lot of the same issues as composers, and really probably all artists. A few points that stood out: 1. Working for free was a big topic. Essentially it boils down to what makes sense for you individually. If you can gain experience, contacts, or otherwise benefit, then it may make sense. However, as long as there is more supply than demand, there is the potential for abuse. As a result of dance being a bad mistress, as it were, the struggle to survive acts as a filter, leaving only those who really want to dance badly enough and who are the best. When there is not a lot of money to pay the dancers, transparency in financial accountability makes a huge difference. Budgets can be posted online so that everyone knows exactly how the money is being spent. 2. Explaining the value of the arts to a community can help. The arts should be valued and well funded because they can re-vitalize a neighborhood. For example, the arts have completely changed the new 42nd street in New York City, including The New Victory Theater, and brought in enormous economic value. This new model for supporting the arts allows for the economic benefit created by the arts to be returned back to the arts so that they can be sustained. 3. Pursuing a master’s degree was also discussed, and it seems for employment in higher education, a MFA or doctorate is required. Some dancers have pursued arts administration degrees as a way to still be in the arts yet have a regular paycheck, even if it’s not a large one. It also was recommended that you take opportunities that present themselves, even if it is not exactly what you were expecting, as you never know exactly where it might lead you. 4. What was markedly different from music was the use of technology. Unlike music and film, where the barrier to entry has been lowered by the advancements in technology, dance has not been affected in the same way. The biggest obstacle for dancers is finding good studio space, even more difficult than finding good music. 5. Audience education was discussed as an important goal to ensure the future of dance. There was strong opposition to watering down what they do to make it more accessible. I, however, think that all arts must communicate, and if they fail to communicate then it is only an exercise in self-indulgence. The arts can and should still be accessible without sacrificing quality.
While I found the panel on global networking to be a complete snooze, the panel on new commissions was fascinating. Director and Producer of Vail International Dance Festival Damien Woetzel, choreographer Edward Liang, and Director of the Joffrey Ballet Ashley Wheater (who had commissioned Liang) discussed their dedication to new work and giving it a life beyond the original premiere. When works are done more than once, they can be tweaked and improved upon, much like the lengthy process a musical may go through. It was interesting that their perception was that theater was allowed to have a development that take years, but that dance was not. The relationship between the choreographer and the dancers is important, and working with the same company for an extended period of time can have great benefits. It needs trust and a lot of good communication, as the process of creating a new work can be difficult. However, when the dancers have worked hard and exceeded their boundaries, then the results can be spectacular with a large sense of accomplishment. It is important to bring the audience along on this process. Yes, audiences must be excited about seeing a new work, but it is equally important to know that works can be in development for a long time and change. This creates a challenge in communicating properly to audiences and accurately portraying a balance of both completion and work in process. One of the inherent problems in commissioning is the tendency to play it safe, but by playing it safe there are not only no risks, there are no corresponding potential gains by embracing risk. The work must be authentic, honest, and relevant both to the dancers and the audience, and you risk having none of these if you play it safe. There was indeed considerable respect for the importance of music to dance. There was some discussion of making sure that proper rights were obtained, and well before rehearsal is started, as a new dance can be sabotaged if the rights are not cleared. I did notice, however, that the creation of a new piece of dance does not necessarily mean the creation of a new piece of music. There was concern over tardiness when it comes to the completion of commissioned music, and using pre-existing work, even of living composers, avoids this. If there is new music commissioned, then ample time is a pre-requisite. Wheater talked about using his instinct or gut to decide whether a new commission is right for his company. There are many factors that must be right in order to successfully move forward?budget, style, fit, relevancy, etc. Getting the most out of any conference requires some basic networking skills. There are a couple things to keep in mind that can make a huge difference. When talking to someone, give them your undivided attention, including eye contact. Don’t be looking around the room to find someone else more important to talk to. You never know exactly who may be able to help you, so treat everyone with respect. It is also the quality of the contacts that matters much more than the quantity. Better to have only a few business cards at the end of the day, but have them be from people that you have made real connections with. While a composer at a dance conference can be a bit out of place, you must remember that you need to meet people who can hire you. Music conferences are great, but if you are only meeting other musicians, then you are not meeting the directors that may be looking for composers. If you want to compose for dance, then you need to go where you’ll meet choreographers. This is a great place for that. The day ended on a positive note with remarks from George Stevens Jr. (writer, director, producer, playwright, and author). Stevens is currently co-chairman of the President’s Committee on the Arts and Humanities and author of the play about Justice Thurgood Marshall, and he was upbeat on how the Obama administration enjoys promoting the arts. Brian Wilbur Grundstrom |
Report from DanceUSA Conference
June 18, 2010
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The House of SwedenThe American Music Center sent me to the DanceUSA conference to blog. Here is my report from day one:
At the Dance/USA conference’s opening reception at The House of Sweden, I definitely felt like I was the only composer in the room. This did not, however, make me feel too out of place. Conference attendees are from all over the country, and while many of them know each other from previous conferences, they are also there to meet, socialize, and network. Also, being a Washingtonian, there were several people that I knew just from being active in the local arts community.
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Site-specific dance outside The House of Sweden.I have walked by The House of Sweden many times but have never had the occasion to go inside. I watched it undergo construction a few years ago, and have always been fascinated by its wonderful Swedish aesthetic, so it was a real pleasure. The setting right next to the Potomac, just down a little bit from the Watergate and the Kennedy Center, is ideal.
Upon arrival at the reception, I couldn’t figure out what the caterers were doing with all these white bags on the steps of the embassy. It was only later that I realized that these were not waiters, but rather dancerswho probably were waiters anyway 
. To the left, you can see my photos of them dancing just outside of the embassy with the Potomac in the background. They were having fun, whatever it was that they were doing. The other thing that fooled me was the risotto that looked like creamed corn, which would have been an odd choice of food when one was expecting Swedish meatballs.
We then strolled along the Potomac to the performance at the Kennedy Center titled “Ballet Across America.” There were three companies. The Houston Ballet was very classical, five heterosexual couples in spiffy, but very classic ballet outfits. I did notice that the program simply stated “music by W.A. Mozart,” not mentioning which of his many works were played by the Kennedy Center Opera House Orchestra. It was, however, a beautiful live performance with strings only, and the live music was every bit as important as the dance.
The Suzanne Farrell Ballet performed a George Balanchine piece from 1960 set to Igor Stravinsky. With their black and white outfits, and the atonal music, it was very much like going to a museum to see a period piece. It was definitely a 20th-century academic sensibility. I could appreciate it without necessarily liking the lack of melody. The dancers moved well and were interesting.
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The author with Michael Ann Mullikin, Manager Dance Programming, The Suzanne Farrell Ballet, The John F. Kennedy Center for the Performing Arts (left) and Barbra V. Blauhut, Director of Special Events, WETA (middle)The third company, The North Carolina Dance Theatre, brought the house down with their dance to the foot-tapping music of Greasy Beans: live fiddle, mandolin, guitar, bass and of course banjo. Their integration of classic ballet with cowboy two-stepping was quite refreshing and new, and a welcome contrast to Stravinsky. They got the whole audience clapping in rhythm for the whole last number. This was indeed the highlight of the evening.
After the performance there was a reception on the mezzanine lobby just for Dance/USA. There was plenty of wine and cheese, and it was easy to spot that the thin, young and good looking had been the evening’s entertainment. It was fabulous that these young dancers changed into elegant evening clothes to be part of the party. I’m not sure how much cheese they were allowed to eat, however :)
Brian Wilbur Grundstrom
www.brianwilbur.com
Brian Wilbur Grundstrom has music in “Liability”, a 48 Hour Film Project with Tohubohu Productions
May 7, 2010
BWG music in the 48 Hour Film Project “Liability”.
Watch here:
http://www.tohubohuproductions.com/liability.html
Liability 2010 ♦ 7:33 ♦ produced by Pam W. Coughlan ♦ directed by William R. Coughlan
When three sudden deaths befall members of a small law firm, Karen Dunmore begins to suspect that they may be retribution for a terrible crime and its subsequent cover-up. Fearing for her family’s safety, she desperately tries to convince her husband and his associates to take action. But will it be too late?
Pushing the envelope for its eighth entry in the 48 Hour Film Project, Tohubohu ventured into the horror genre. With a script co-written by Robin Brande and director Wiliam R. Coughlan, “Liability” was produced entirely across the weekend of April 30th through May 2nd, 2010. Though ineligible for competition because of a late deadline submission, the film nevertheless premiered at the AFI Silver Theatre on Wednesday, May 5th.
TOHUBOHU PRODUCTIONS presents “LIABILITY” starring JENNIFER MASSEY NICK DePINTO featuring GALE NEMEC JOY HAYNES KENNETH J. COUGHLAN LINDA GABRIEL DEUTSCH DAN FOSTER JOHN C. BAILEY ERIN ROSE COUGHLAN JENNY RUBIN and ANNA COUGHLAN edited by BRAD HARTLAND COLIN HEICHMAN WILLIAM R. COUGHLAN director of photography JESSE ACHTENBERG music by BRIAN WILBUR GRUNDSTROM executive producer WILLIAM R. COUGHLAN written by ROBIN BRANDE & WILLIAM R. COUGHLAN produced by PAM W. COUGHLAN directed by WILLIAM R. COUGHLAN
Brian Wilbur Grundstrom
Composer
www.brianwilbur.com
Baltimore Symphony Members play Grundstrom
May 7, 2010
Composer Brian Wilbur Grundstrom with Baltimore Symphony members Gabrielle Finck, Jane Marvine, Marcia Kämper, David Coombs and William Jenken
Composer Brian Wilbur Grundstrom’s Music II for Wind Quintet was performed by members of the Baltimore Symphony Orchestra as part of the Chamber Music by Candlelight in Baltimore, MD on April 25, 2010.
Listen to Music II for Wind Quintet
Brian Wilbur Grundstrom
Composer
www.brianwilbur.com
BSO musicians perform “Music II for Wind Quintet” by Brian Wilbur Grundstrom April 25, 2010 in Baltimore
April 9, 2010Members of the Baltimore Symphony Orchestra perform Brian Wilbur Grundstrom’s Music II for Wind Quintet as part of the 2009-2010 season of Chamber Music by Candlelight. The event takes place on Sunday, April 25, 2010 at 7:30pm in the Second Presbyterian Church at 4200 St. Paul St in Baltimore, and admission is free. The ensemble includes Marcia Kämper (flute), Jane Marvine (oboe), William Jenken (clarinet), David Coombs (bassoon) and Gabrielle Finck (horn).
Commissioned for the Trinity Chamber Players in Washington DC, Music II for Wind Quintet was originally conceived as Music for Piano Solo II, written in 1990. While the 15-minute piece is through-composed, that is, without a formal compositional structure, there are natural breaks or pauses that delineate. One of these quasi-sections is reminiscent of a “hoedown”. Thematic material is repeated through the entire piece.
Audiences take to Grundstrom’s compositions immediately, finding in his compositions traces of Aaron Copland, Kurt Weill and Samuel Barber. “I believe that new music must not only be innovative, it must accessible, which means not disregarding [the standard] tonality that people intuitively understand.”
Other works on the program include Deux Rapsodies by Charles Martin Loeffler, Sonatina for Clarinet and Piano by Joseph Horovitz and Trio in C Major for Piano, Violin and Cello Op. 87 by Johannes Brahms.
More information about the series is available at http://www.bsomusic.org/main.taf?p=4,1,14. Grundstrom’s work can be listened to at http://www.brianwilbur.com/html/compsChamberQuintet.html.
Brian Wilbur Grundstrom
www.brianwilbur.com
brian@brianwilbur.com
Press Release: Composer Brian Wilbur Grundstrom Nominated as Outstanding Emerging Artist in 25th Annual Mayor’s Arts Awards, Washington, D.C.
March 21, 2010
Media Contact:
Lisa A. Shenkle
VERB! Communications
410.439.4695/410.227.5899
lisa@verbcommunications.com
Composer, Brian Wilbur Grundstrom, Nominated as
– OUTSTANDING EMERGING ARTIST –
25th Annual Mayor’s Arts Awards, Washington, D.C.
Washington, D.C. – The DC Commission on the Arts and Humanities selected composer Brian Wilbur Grundstrom as a finalist in the 25th Annual Mayor’s Arts Awards. Selected from 117 eligible nominees, Grundstrom was nominated in the category with five others as Outstanding Emerging Artist. The Mayor’s Arts Awards is the highest honor conferred by the District of Columbia in recognition of artistic excellence and service among artists, arts organizations, and arts patrons in the city.
Grundstrom will join 33 finalists in 8 categories at the Historical Society of Washington, D.C. (801 K Street NW) on Monday, March 22, 2010 at 6pm for the awards ceremony.
“As a three-time Artistic Fellowship recipient from the DC Commission of the Arts and Humanities, I am particularly pleased that they have recognized my work and accomplishments in this manner,” said Grundstrom. Audiences take to his compositions immediately, finding in his compositions traces of Aaron Copland, Kurt Weill and Samuel Barber. “I believe that new music must not only be innovative, it must accessible, which means not disregarding [the standard] tonality that people intuitively understand.”
Grundstrom was nominated for a 2009 OUTMusic Award for his composition of The Bridge Club for the musical Pepe! The Mail Order Monkey Musical and a recipient of a PEER Award from the Television, Internet & Video Association of D.C. for the musical underscore in the film Sadie’s Waltz. His American Reflections for Strings and Harp is being released by ERMMedia this spring. More information is available at www.brianwilbur.com.
Finalists were chosen by the Mayor’s Arts Awards Advisory Jury comprised of prominent members of the District’s arts community with expertise in dance, music, theatre, literary arts, visual arts and arts education.
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Radioindy reviews “Pepe! The Mail Order Monkey Musical” CD
March 15, 2010
“Brian Wilbur Grundstrom: Pepe! The Mail Order Monkey Musical” by Various Artists (Classical Artist from Washington D.C.(DC))
“Brian Wilbur Grundstrom: Pepe! The Mail Order Monkey Musical” featuring various artists is an upbeat and fun classical musical soundtrack. This delightful and whimsical musical has a wonderful cast of actors who sing through each number with vibrant energy. On the track, “It’s Here,” multiple melodies sing simultaneously with harmonious interplay while keeping a cohesive structure. The track “I Know What’s In My Heart” highlights the female lead vocals singing with strong and polished tonality. The instrumental “The Escape” takes the listener on a musical journey as the horns play with mysterious explorations. If you like classical music theater plays, then take a voyage with the various artists on the charming album, “Brian Wilbur Grundstrom: Pepe! The Mail Order Monkey Musical,” as you won’t be disappointed by the enchanting lyrics and vibrant melodies.
-Diane T. and the RadioIndy.com Reviewer Team
Check out Brian Wilbur Music’s music on RadioIndy.com with link to purchase and links to popular sites
Brian Wilbur Grundstrom receives nomination for Mayor’s Arts Awards
March 6, 2010
25th Annual Mayor's Arts Awards
Just found out that I’m nominated for Outstanding Emerging Artist!!!
http://thedcarts.wordpress.com/mayorsartsawards/
