Composing in progress...

A week or so ago, I saw Edgar Meyer here in Tacoma. He performed an entire recital of solo bass music--no piano. He played the first Bach (cello) suite as well as some of his own compositions. What struck me most was his "Work in progress for unaccompanied double bass (2013)" [note the date]. He gave us a brief theory lesson before playing it, introducing the themes (pitch-class sets in the last movement) and metrical/rhythmic bases--all in very clear, accessible language. I'm quoting the program notes in their entirety, because this struck me as a very interesting premise for a recital piece, er... composition(?):

I have wanted for a while to compose a piece for unaccompanied bass that is different than other pieces that I have written before. I wanted to attempt a larger form and language that is slightly more complex than I have used in shorter pieces or that I could improvise. I have ended up using an iterative process involving performances of whatever I have completed up to the time of each performance. This was not the original intention, but it seems to allow for an organic conception of the piece with the playing and the writing evolving simultaneously. As of today, I have 3 movements that are mainly finished. Depending on how the next 2 or 3 performances go, I will keep them as is or revise them a small amount. Over the next year i will add one more interior movement, but I fell that these 3 stand alone. In fact the next movement will actually need to audition for a spot. If it improves the piece then it is in. If it makes it worse then it is out.

The movements were simply labeled I, II, and III in the program--nothing more.

This strikes me as ingenious: isn't this really how composers actually work? Why not make the process (somewhat) transparent to the public, enabling them to feel a sense of participation? What was also telling was that he performed the piece from memory.

Now, no doubt works in progress have been performed before, and composers certainly revise pieces after they've premiered, but I love the sense that this is a dynamic work that is being performed/composed simultaneously (in a way), and that it is obviously (witness the "date of composition" and the "missing" last movement).

Edgar Meyer is an interesting person: who else could successfully tour the country playing a recital of music for double bass alone, the majority of which were his own compositions? One of which wasn't even finished? I also like the image he projects when he performs:

From here

He looks like a blue-collar working man: sleeves rolled up (no doubt a practical consideration: I prefer playing with short sleeves--keeps them out of the way), business casual attire. He had a mug of tea (I think--maybe coffee?) on the stool next to him while he played the second half. He's someone that the audience could relate to on that level--not the elitist classical musician stereotype.

I hope Edgar and those like him are the future of classical music: seems to me that he's doing all the right things.