Hello TWB Family
We are just days away from Opening Night of Hemingway: The Sun Also Rises and we have been working diligently to make this production a delight! In making this show a delight, I have invited composer Billy Novick, as a guest blogger, to give you more insight his craft and inspiration behind the music for Hemingway.
This is the life of a modern composer, and that's what it took me to have the score of Hemingway: The Sun Also Rises become a reality. I don't know how Tchaikovsky did it with internet access being so slow in those days.
The attachments are a good thing—it means I'm sending original music to Septime (Webre, TWB’s Artistic Director) to see if he likes it. The links, from my perspective, are not as gratifying because a link usually means that I am searching for—or being directed to—an existing piece of music.
I LOVE writing music. I'd do it for free...and I almost did. I started working on the Hemingway score back in March of 2012. I didn't receive a dime until January of 2013 and didn't sign a contract until early February.
I also love collaborating with other musicians, choreographers, poets, and filmmakers. Septime is one of the most dynamic visionaries I've ever had the privilege of working with. I must admit that when I first read The Sun Also Rises a) I didn't like it at all, and b) I thought "how in the world is anyone going to make a ballet out of this?” It hardly screams out music or dance, but Septime's imagination has brought it to life for me.
The score is very eclectic, featuring about 10 different genres of music. I was hired because of my background in 1920s jazz, but I was excited by the opportunity to write French musettes and cafe music, some "gypsy jazz"—and all that’s just in the first act. The second act, set mostly in Pamplona, Spain, has some flamenco, bullfight and Spanish guitar music…and even a klezmer song.
learn more about the composer at www.billynovick.com