We at WPA focus on bringing to life the music of historic composers, because they were erased from history, even those who were successful and celebrated in their lifetimes. And composers of the past are unable to promote themselves the way that living composers are able to! 🙂
So — as part of our celebration of Women’s History Month — we are introducing this new interview series in order both to highlight our commitment to living composers, and also to give these composers an opportunity to celebrate the ways that they have been inspired and informed by women composers of the past. This gives us all a meaningful context, connecting us to composers (and their music) today and inviting these composers to reflect on their position within the long history of women who have written music in all genres and eras. — Liane Curtis, WPA President
AND our first composer is Gala Flagello!
LC – Just tell us briefly a little bit about yourself, who you are and what you do now!
GF – Hi everyone! I’m Gala Flagello, and I’m a composer and educator originally from Connecticut, now based in Michigan. I enjoy writing primarily large ensemble music with a generous sprinkle of chamber music as well—I like to keep my projects varied. I enjoy doing residencies with ensembles and universities throughout the season, sharing my compositional process, discussing collaborative relationships, and digging into the topics and themes that inspire my work, such as environmental advocacy, gender equity, and mental health. I’m also thrilled to be teaching the course I designed, Commissioning and Collaboration Basics, at the University of Michigan for a third year. It’s really important to me to help the next generation of artists build sustainable, meaningful creative relationships.
LC – How did you first get involved in music? And how did you start composing?
GF – I started piano at the age of 5 and had a really wonderful piano teacher, Dan Kean, who—noticing I was “making up songs” whenever I didn’t want to practice what I was assigned—started incorporating music theory into my lessons. He really encouraged my creativity from such a young age, encouraging me to play my own short pieces on piano recitals alongside whatever Bach, Chopin, or Scarlatti I had learned. Later on, I started playing French horn, and that’s how I fell in love with orchestral music, the gorgeous sounds of brass, and the joy of playing alongside my friends and colleagues in an ensemble context.
LC – What historic composers in particular have influenced you? Were there any women composers of the past who stood out to you, whose music you loved or whose life inspired you, or felt you like you related to?
GF – Whenever I’m in the thick of it writing orchestral music in particular, I always find myself turning to Amy Beach. I admire her ultra-secure scoring, as well as her ability to foreground different instrument families one after the other seamlessly. And returning to my pianist roots, the music of Clara Schumann has a special place in my heart. Her solo and chamber music is at once simple and complex; the way she holds attention with seemingly straightforward gestures that bloom into intricate textures is so compelling. Both of these women also led such fascinating, intrepid lives! Their stories and their music both leap off the page.
Happily, we’re now living in a time where recent recordings and scores are at our fingertips, so I regularly find myself inspired by my contemporaries. Gabriela Lena Frank, Angélica Negrón, Gilda Lyons, Gabriela Ortiz, Laurie Anderson, Janelle Monáe…I could go on and on.
LC – Not a question — but just reflecting on the woman issue — their different treatment in music history is one issue, and the obstacles they faced / face in life is another. Or in my generation, we always thought there weren’t any women composers in the past, maybe a few in the margins of the history books, but not being or studied in our classes or played in our ensembles — and I remember starting to be struck by how wrong that was ….
GF – Absolutely—I’m still mystified by the fact that the first woman composer whose music I performed on the horn was myself, at the age of 21! I’ve actually heard similar things from several colleagues, and maybe this is why I think approaching composition from a performance background is so powerful. Viewing your instrument/voice not just as a thing to use to perform “perfectly” but as a tool with which to explore is crucial, especially if we want to continue seeing composers of all different backgrounds in our field. We all find our different ways into writing music, and it’s important that we validate all of those avenues.
LC –Tell us about what you’re working on now, and the plans you have for the near future.
GF – I’m really excited to be premiering two new orchestra pieces this season: one called Athena (exploring the Greek goddess’ mythology, from wisdom to warfare and owls to olive trees) for the Wichita Falls Symphony Orchestra [happening this week!], and Alchemy (depicting transformation, experimentation, and wonder) for the Knoxville Symphony Youth Orchestra [taking place in May]. I also love collaborating with individual people that I admire; coming together to make something greater than the sum of its parts is the goal. So I’d also like to shout out an upcoming project with soprano Lindsay Kesselman (voice and symphonic winds), as well as concerti for ~Nois [Sax quartet] and [clarinetist] Julian Bliss in future seasons. I am incredibly grateful that I get to work with such inspiring colleagues.
LC – Thank you so much, wonderful to learn all this!
Gala’s website offers links to performances of her works as well as more details about all her music!
Gala Flagello (photo by Alfredo Cabrera)