L.A. Phil gives budding Mozarts 'shock therapy'
The total-immersion Composer Fellowship Program throws four teens into the deep end. They're doing swimmingly.
HALL PASS: L.A. Phil will play works by Andy Alden, left, Tim Callobre and Saad Haddad this week at Disney Hall. (Genaro Molina, Los Angeles Times)
At the same age, Tim Callobre was also making up piano tunes. Soon, he was branching out to other instruments and entering composition contests.
In second grade, Saad Haddad did a report on Mozart. "I thought it was cool that this guy was producing good stuff when he was 3," he says. "I begged to play the piano so I could get the notes down and start to write."
And Jack McFadden-Talbot played the violin and trumpet as a kid plus studied arranging and orchestration with his piano teacher, composer Frank Becker. At 12, he completed his first major work -- for string orchestra and flute.
Precocious as these boys were, their chances of growing up to write music for a living were slim, given the complexities of the craft and the dearth of resources available to aspiring young composers.
But lucky for them, the Los Angeles Philharmonic decided to shorten the odds. They are the first class of a one-of-a-kind training program for high school students that offers access to artists and performance opportunities that the finest conservatories would find hard to match.
The two-year Composer Fellowship Program started in fall 2007 under the leadership of Steven Stucky, the philharmonic's Pulitzer-winning consulting composer for new music. Its two main components are what Stucky calls "shock therapy" -- producing chamber, choral and orchestral pieces on deadline -- and immersion in music theory and history.
The students attend Saturday classes with Stucky and teaching fellow A.J. McCaffrey as well as workshops with philharmonic artists, librarians and technology staffers. They meet with visiting conductors and composers and local film composers and arrangers. Their pieces are given "readings" by professional musicians, who provide feedback about playability and artistic technique.
"A lot of this education is practical," says Stucky. "What works. What doesn't. Looking people in the eye and saying, 'What do you need from me as a composer?' "
This week, the four fellows will enjoy the program's ultimate perk: Compositions by them will be performed by the Los Angeles Philharmonic at Walt Disney Concert Hall. These Symphonies for Schools concerts, which are reserved for student audiences, will also feature works by Stucky and the philharmonic's music director, Esa-Pekka Salonen.
"It's an amazing opportunity," says Stucky. "We had no idea when we started they would get the chance to write for the full Los Angeles Philharmonic."
But the program, as it turns out, has been a series of surprises.
"We didn't expect the amount of fulfillment and progress these young composers have enjoyed," Stucky says. "Or that philharmonic musicians would embrace us like they have. Or that we would attract the caliber of guest artists and composers and conductors."
One recent Saturday, the fellows spent three hours with film composer James Newton Howard at his Santa Monica mega-studio. Then they went downtown to tape video interviews for the schools concerts before meeting with Leonard Slatkin, who was conducting the philharmonic that evening.
"We talked about what he looks for in scores and how composers interact with conductors," says Stucky. "Then we went to the lecture and the concert. It was a long day. But everyone was smiling at the end."
The Composer Fellowship Program is one of several philharmonic creations designed to fill a gap in the orchestra's outreach efforts. "We realized we were great at introducing children to music, but we were not doing enough for accomplished musicians," says Gretchen Nielsen, the orchestra's director of educational initiatives.
Developing composers was a natural, given the Phil's commitment to new music and the passion for music education shared by Salonen and his designated successor, Gustavo Dudamel, who will take over in the fall.
The program is tuition-free; its costs are covered by the philharmonic. The initial call for candidates drew 20 students. The selections were based on interviews, applications and a review of old and new compositions.