Trevor Cramer: I recently asked our talented and prolific colleague, the versatile composer Michael Isaacson, what he does to give his double reed chamber music that special “Isaacson touch”. After thinking long and hard about the question, here is his knowing and enlightening response. 

Michael Isaacson: Thanks for that question Trevor. I’ve never been asked before about it in that way. It is true, however, that I do strive to include distinct features in my chamber music that I believe add a personal touch and “personality” to the listener’s perception of the works. I’ll break them down for you and your readers into ten features:

 1. Choose a subject, an emotion, or a condition that has universal appeal.

While I don’t think a work has to always have a precise program or story attached to it, there are certain subjects that evoke universal reactions and expectations. Whether it’s a dance rhythm, an emotional moment, or an amusing image, when those expectations are gratified by the music the “listening covenant” between the composer, the players, and the audience has been successfully fulfilled.

2. Create a title that engages the imagination of the player and the listener.

Following up on deciding upon a subject’s universality, choose a title that piquantly and succinctly communicates that arena of attention. It is a most important consideration. I often look at a title like “Sonata in F major” or “Allegro in D minor” and think to myself “what does the structure really suggest?” Titles of works actively bring the performer who purchases the music, and the audience who looks forward to listening to it, into the experience sooner and in a more lively way. Always give the title some thoughtful zest!

3. Combine other instruments with the double reeds that add unique colors.

I learned this technique as I did so many other musical skills from my composing teachers, Robert Starer in New York, Samuel Adler and Warren Benson at the Eastman School in Rochester, and later in the Los Angeles film scoring work place by my employers and mentors Alex North, Elmer Bernstein, and most importantly Walter Scharf. Benson taught there were probably a thousand string quartets out there that are better than one that you could compose, but how many string quartets with Oboe d’amore are around? Fill in the catalog with ideas that have not been worked to death by adding an exotic or unexpected instrument to a more conventional chamber group.

4. Add some surprise to each work to perk up performers’ and audience’s ears.

Surprise may be syncopated rhythms, melodies that don’t resolve in quite the way one would expect, a structure of repetition and furtherance that is a bit oblique, an orchestration device that is not often employed, or any one of many flashes of unexpectedness that knowing composers can provide in a score. It is not about quantity but quality at the right moment. One little surprise is often enough to guarantee interest in a particular work’s entire perception.

5. Never underestimate the intelligence of your performers and audience.

I always compose for the brightest, most interesting, most accomplished players in their particular skill level and the most accomplished listeners who will be their audience. Even if I choose to only compose in quarters, halves, and whole notes, I never “write down” or underestimate the intelligence of my esteemed clients. In fact, I’d sooner challenge their skill level and perceptions than give them music that has been “dumbed down” for commercial viability. It is all about a commitment to elevation in music.

6. Keep works the right length for ultimate enjoyment.

Today younger audiences have been trained to understand short sound bytes, tweets, and abbreviations; OMG! This is why I’m very careful not to compose a work that is overly long. Too many composers work an idea to death to insure that all the possibilities have been explored. I’m of the opinion that that lack of brevity, which at its worst can bore and be stultifying, should be eschewed at all cost. Exposing a musical idea, and looking at it from two or three aspects is enough for a 3-5 minute chamber movement or piece. I advise all my students that one can never hope to say everything in a single work. That’s what creative lifetimes are for; and even then, who really is confident that they have said it all? Better have audiences wanting more than relieved that a work has finally, and mercifully come to an end.

7. Make every measure aware of its past, present, and future.

Warren Benson taught me to look at every measure that I compose as a presence that reflects some aspect of what came before it and, at the same time, includes some idea that energizes and projects possibilities that will be gratified in the work’s future development. In other words, each measure, if it is really understood, should have a simultaneous PAST, PRESENT, and FUTURE. This is called organic composition and in my most considered works I use this technique as much as I possibly can.

8. While filling in the holes of your catalog, keep it diverse and non-redundant.

Before I write a new piece I often study my own and other composers’ catalogs to see what has already been done and what areas of musical interest are yet to be fully explored. As I pointed out in #3 all it takes is just one or two tweaks of what already exists to find something fresh to add to your oeuvre. This concept applies to players as well as they program each concert. Ask yourself “Have I overly presented this piece in the past? What new ideas can I add to the mix? Maybe just a fresh staging or provocative introduction?” Always try to creatively travel on less trodden paths.

9. Boldly explore contemporary techniques but don’t avoid catchy melodies.

The 21^st century chamber music musician is often encouraged to minimize highly melodic music for works that dramatically extend the avante garde aspects of range and usage. This is all necessary, well, and good, but to my thinking, nothing is as endearing as a beautiful melody that one falls in love with during the course of a work. While Tschaikovsky’s developments may not be as compelling as some other composers, his “tunes” ingratiate you and make his works perpetually and consistently appreciated. Don’t be weary of trying a piece that has a good tune attached to it. In the final analysis, it is what the audience walks away humming... and remembering.

10. Affiliate with editors and publishers who share and encourage your vision.

Finally, all composers and consumers of music are advised to collaborate with and patronize publishers and editors who enthusiastically share their creative vision. There is nothing more enervating than a publisher who minimizes your contributions and nothing more exciting than a publisher who understands, appreciates and urges you on. My association with Trevor Cramer and TrevCo Music Publishing has produced almost 100 new works during the past four years. I doubt that the juices would have flowed so easily with another publisher. I publicly take this opportunity to thank you Trevor and express a great optimism that our collaboration will continue to provide new chamber music that offers real alternatives to the double reed community.

Trevor Cramer: There you have it my friends, in return our thanks to Michael Isaacson for his cogently thought out “Decalogue” of techniques and philosophy that make his music so interesting and singular. Check out his listings at this TMP website.