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After offering a cup of fresh coffee from the kitchen, he takes his guest into one of the composing rooms. It鈥檚 a hushed, restfully lit place, dominated by the wide arch of a desk anchored by a MIDI keyboard and topped with a quartet of computer screens. From behind it Howard can gaze at another screen on the wall that shows the films he鈥檚 scoring. A bust of Beethoven, with a ball cap perched on top, sits to the left of the movie screen. A pair of candles flicker on the right side of the desk.鈥淎ctually, John Williams was here yesterday mixing something and we were talking,鈥?Howard said. 鈥淎nd he was鈥?(here Howard does his best Williams imitation), 鈥?鈥楯ames, I鈥檓 so impressed, it鈥檚 so amazing what you鈥檝e got going on here and how you鈥檝e built all this up, and it鈥檚 so comfortable and it鈥檚 incredible.鈥?鈥漀ominated for an Academy Award for his 鈥淒efiance鈥?film score and a recent winner of a Grammy for his work with Hans Zimmer on 鈥淭he Dark Knight,鈥?Howard is nevertheless out of his comfort zone these days. He has just finished composing and delivering his first piece of symphonic music, slated for a world premiere by the Pacific Symphony in Costa Mesa on Thursday. Dubbed 鈥淚 Would Plant a Tree,鈥?the 19-minute piece for large orchestra took him eight months to compose.鈥淚 felt a little bit lost in the wilderness,鈥?Howard said of composing the piece. Also, 鈥渘ervous鈥?and 鈥渁nxious鈥?and 鈥渋ntimidated.鈥濃€淚 know that the classical world has resisted film composers throwing their hat into the classical concert music ring,鈥?he said. 鈥淎nd you know I don鈥檛 think that鈥檚 totally without justification. I think sometimes it seems to me there is a built-in automatic prejudice against the whole idea of it. And it鈥檚 very difficult to overcome that stigma.鈥滸IVING FILM COMPOSERS THEIR DUEThat stigma is the subtext of this year鈥檚 American Composers Festival. The Pacific Symphony鈥檚 annual event will be focused on 鈥淗ollywood鈥檚 Golden Age鈥?and features, along with Howard鈥檚 piece, the music of legendary film composers Bernard Herrmann, Erich Wolfgang Korngold and Mikl贸s R贸sza. While all three enjoyed hugely successful careers in film, they craved recognition on the concert stage as serious classical composers, but were mainly spurned. The festival aims to address the prejudices these composers faced by performing their film and concert pieces side by side.We鈥檒l hear a suite from Herrmann鈥檚 score to Alfred Hitchcock鈥檚 鈥淰ertigo鈥?alongside his radio melodrama 鈥淭he City of Brass,鈥?for orchestra and narrator, based on a Kipling poem. We鈥檒l hear Korngold鈥檚 Theme and Variations from 鈥淜ings Row鈥?(a film that starred Ronald Reagan, among others) together with the scherzo from his Symphony in F-sharp. We鈥檒l also hear R贸sza鈥檚 鈥淧arade of the Charioteers鈥?from 鈥淏en-Hur鈥?juxtaposed with his Theme and Variations for Violin, Cello and Orchestra, Op. 29a.鈥淚 think every classically trained film composer feels to some extent, maybe on some level, that they took the low road,鈥?Howard said, 鈥渢hat they could have maybe pursued a career in the concert music world and perhaps been involved in a higher quality of music.鈥漈he irony is that film composers, while not exactly welcome in the classical club, are much better paid than their strictly classical counterparts.Howard himself, though once a keyboardist and arranger for Elton John, is a classically trained pianist who attended the Music Academy of the West and USC. He has long wanted to write a classical piece, and he turned down more lucrative movie work when the Pacific Symphony gave him the opportunity to do so.鈥淎s a film composer I deal with short bursts of musical ideas that are defined to a large extent by what鈥檚 happening on the screen, by not only narrative and action, but staying out of the way of dialogue, sound effects,鈥?Howard said.鈥淪o there are many considerations. In a way it鈥檚 a very elaborate structure within which I work. That can also be very comforting, because one is not so vulnerable and you鈥檙e merely supporting the film. I don鈥檛 mean merely supporting the film 鈥?that鈥檚 a big job, and that鈥檚 a very difficult job. But you are in collaboration with another medium.鈥滻n a concert piece, conversely, there鈥檚 nowhere for a composer to hide. He must sustain interest by himself, develop musical ideas and design structure, and forge a complete artwork in and of itself.鈥淚 found that among other things one of the first issues I had to confront was learning to be more patient with my musical ideas, because I didn鈥檛 have to stop,鈥?Howard said. 鈥淚n other words, I could start an idea and then there wasn鈥檛 a car driving into frame or somebody getting shot. So I was able to stay with an idea much longer. That proved to be liberating, but also very challenging.鈥滱t first, the musical ideas for his first concert piece came rushing to him.鈥淚 got off to a roaring start, and I remember writing about that first seven or eight minutes.鈥?But then, he says, he hit a wall. Without even so much as a title for the piece, Howard couldn鈥檛 find his way forward. Then, he found it, or it found him.鈥淚 came across this quote, I think it was in an interview with Werner Herzog that I first heard it, and he was talking about that Martin Luther, who, when asked what he would do if he knew the world were ending tomorrow, said, 鈥楨ven if I knew that tomorrow the world would go to pieces I would still plant my apple tree.鈥?鈥漇truck by the 鈥減ositivity鈥?of that statement, Howard now had a story line for his piece. Though 鈥淚 Would Plant a Tree鈥?follows no explicit narrative, it traces an arc from 鈥渂irth and beginnings鈥?through 鈥渢orturous complexity鈥?to arrive at 鈥渟omeplace of a sanguine sort of calm,鈥?reconnected with the effortlessness of childhood.Howard describes 鈥淚 Would Plant a Tree鈥?as tonal and melodic, with touches of minimalism, Romanticism and jazz. The 鈥渢ortuous complexity鈥?is created through the use of dense contrapuntal and polyrhythmic writing. 鈥淚 wanted to feel a sense of ordered chaos,鈥?he said.The piece uses a mostly standard orchestra without electronics (electronics are a hallmark of his film scores), but includes parts for nine trumpets, five clarinets and plastic chairs, which create a particular thump when hit, the idea of Howard鈥檚 co-orchestrator Conrad Pope.Howard also had a little help from Pacific Symphony conductor Carl St.Clair, who sent the composer some notes after hearing a demo of the piece.鈥淗e had some incredible notes for me. It was just an idea and I liked what he said so much and it touched on a couple of things that I was feeling unsure about. And so, as is my wont 鈥?the only way to deal with these issues is just to completely erase everything at a certain point and just kind of do it again, which I was happy to do. And now that part, the ending, the last four minutes of the piece, I think there鈥檚 a good payoff now.鈥滺oward won鈥檛 be able to make the first rehearsal of 鈥淚 Would Plant a Tree.鈥?He鈥檒l be attending the Oscars ceremony. But he thinks it鈥檚 just as well that he鈥檚 out of the way. He鈥檚 a little jumpy at this point.He is satisfied with 鈥淚 Would Plant Tree,鈥?however, and would like to write more symphonic music.鈥淚 do like the piece,鈥?he says, smiling. 鈥淚 think it鈥檚 a good piece.鈥漀ow all he has to do is stop worrying about what anybody else thinks.鈥淵eah,鈥?he says, 鈥淚鈥檒l try and get there.鈥?
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