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Interview with:

Michael Mauldin: American Composer [michaelmauldin] 


MUSIC
What do you do? What is your musical specialty?
I retired from conducting, and still love teaching (piano, voice, composition), but my first love was--and still is--composing. Though I enjoy writing pieces for piano students and chamber music for friends and commissioners, my main output has been orchestral, and I've been fortunate enough to hear, conduct, publish and record much of it. I recently enjoyed serving as composer-in-residence for the Albuquerque Youth Symphony, which premiered a large choral/orchestral work, "Earthsongs," based on Native American songs/prayers about the earth.
Is there a web address where one can listen, see, or read some of your work?
Homepage: http://www.mmauldin.com Harmonic Services Group: http://www.harmonicservicesgroup.com/c/michaelmauldin/index.html James J. Pellerite: Native American Flute in Contemporary Music: http://www.jamespellerite.com/public/orch.htm The Delian Society: Tonal Art Music: http://www.newmusicclassics.com/mauldin.html CD Baby: http://cdbaby.com/found?allsearch=michael+mauldin&submit= Santa Barbara Music Publishing (choral): http://sbmp.com/WebPagesTwo/FamilyOfComposers/FamilyOfComposers.html Neil A. Kjos Music Company: http://www.kjos.com/detail.php?table=author&division=0&auth_id=786 YouTube Channel: http://www.youtube.com/user/MrMmauldin Soundtrack-ready pieces: http://www.yookamusic.com/licensor/mmauldin Facebook: https://www.facebook.com/michael.mauldin.composer MusicaNeo sheet music downloads: http://michaelmauldin.musicaneo.com/ Soundcloud: https://soundcloud.com/michael-mauldin
Please list any awards, competitions, or other acknowledgments you would like to mention.
"Voices from Chaco: Concertino for Piano and Woodwind Quintet" won the Music Teachers National Association Composition Contest, for which they named me the USA Composer of the Year in 1980. "Fajada Butte," a symphonic movement commissioned, premiered and recorded by the New Mexico Symphony Orchestra, was performed by the National Repertory Orchestra in Kennedy Center for the 20th Anniversary Celebration of the National Endowment for the Arts in 1985. "Introduction of the Child to the Cosmos," written to commemorate the birth of my first child and based on a poem of the Omaha Indian Tribe, won first-place in the national Ninth Annual Ithaca College Choral Composition Contest and Festival in 1987. I was was named "Teacher of the Year" in 1984 by the New Mexico Music Teachers Association, and "Private Teacher of the Year" in 1996 by the New Mexico Symphony Orchestra. For seven years, I served as Musical Director of the Albuquerque Boy Choir (of which my sons are alumni), which grew to four choirs, 100 boys between the ages of 7 and 17, who toured, recorded and proceeded through a rigorous musicianship program. I was named Director Emeritus in 2002.
Please list discography in which you have participated.
Earth Spirit: Chamber Music by Michael Mauldin: http://cdbaby.com/cd/mauldin2 Enchanted Land: Five Orchestral Works Inspired by New Mexico: http://cdbaby.com/cd/mauldin Love Without a Name: Music I Wrote for My Students: http://cdbaby.com/cd/mauldin3 Enchantment: Music by Michael Mauldin: http://cdbaby.com/cd/mauldin4 DESERT LIGHT: Four Episodes for Chamber Orchestra (Polish National Radio Symphony Orchestra, conducted by David Oberg) on compact disc #177 produced by OPUS ONE (Box 604, Greenville, Maine 04441), http://www.amazon.com/John-Donald-Robb-Michael-Light/dp/B00004Y6ZJ/ref=sr_1_2?ie=UTF8&s=music&qid=1263010643&sr=8-2 DREAMS OF THE CHILD OF LIGHT for Native American Flute and String Orchestra (James Pellerite and the Polish National Radio Symphony Orchestra, conducted by David Oberg) on compact disc #189 produced by OPUS ONE (Box 604, Greenville, Maine 04441), http://www.amazon.com/New-Music-Northern-Plains-Flute/dp/B00022LIDE/ref=sr_1_40?ie=UTF8&s=music&qid=1263047574&sr=8-40 Also recorded by the Moravian Philharmonic, conducted by Lawrence Golan, native flute by James Pellerite, on the album "Visions, Dreams and Memories" (TROY893), Albany Records, 915 Broadway, Albany New York 12207, http://www.albanyrecords.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=AR&Product_Code=TROY893 PETROGLYPH FOR STRINGS, PROMONTORY NIGHT & THREE DANCES FROM CHACO CANYON (Polish National Radio Symphony Orchestra, conducted by David Oberg) on compact disc #193 produced by OPUS ONE (Box 604, Greenville, Maine 04441), http://www.amazon.com/Hewitt-Prelude-Yeagley-HaNitzol-Petroglyph/dp/B000BRP22S/ref=sr_1_37?ie=UTF8&s=music&qid=1263010859&sr=8-37 FAJADA BUTTE: An Epiphany (Kiev Philharmonic conducted by Robert Ian Winstin) on Volume 9 of the Masterworks of the New Era, produced by ERM Media, www.numusic.org. http://www.amazon.com/Masterworks-New-Era-Kiev-Philharmonic/dp/B000IZK1NI/ref=sr_1_30?ie=UTF8&s=music&qid=1263010741&sr=8-30 THREE JEMEZ LANDSCAPES: Fantasy on a Huron Carol (Prague Radio Symphony, conducted by Robert Ian Winstin) on Volume 2 of the Holidays of the New Era, produced by ERM Media, http://www.numusicdirect.com/HolidaysTwo.html
How did you begin making music? Who introduced you?
My Dad was a minister. At first, we didn't have the funds for me to have a piano or lessons, but we lived right next to the church, where I spent many hours exploring sounds on the pianos there. One of the members of my Dad's church was the conductor of the Dallas Symphony. In return for letting him use church classrooms for auditions, my Dad asked if he would talk with me about music. At age 10, I had lunch with him, and he enthusiastically shared with me (treating me as a fellow musician) things about colorful orchestral pieces. I first heard the music of Sibelius performed live and, being a fellow nature-freak, fell in love with it. When I was 12 years old, my Dad bought a piano, and I started lessons with a man who directed another church's choir. He nurtured me as a piano player, a budding composer and a shy boy. At about that time, my family attended church retreats at Ghost Ranch in northern New Mexico. The color and space there stimulated "ecstatic" (in its original Greek usage—ek statis—“standing outside ourselves’’) connections in my young (but old) soul. I composed short pieces on the piano in the convocation hall. Upon returning home, I was amazed at the color and "space" that seemed to have been trapped in those little pieces, so I vowed to live and compose someday in such a place.
What was your musical education?
Completed a Bachelor of Music degree in piano and music education, magna cum laud, from Washburn University of Topeka in 1970, followed by graduate study in piano pedagogy at the University of Colorado in Boulder. Completed a Master of Music degree in composition at the University of New Mexico in 1974. My best teachers were my private music students for the last 40 years and the members of the choirs and orchestras I conducted.
What is your creative process?
Having spent many years at both "directed concentration" on intellectual permutations of the musical material and "fascination" (non-directed improvisation), I feel that "flow" occurs best for me when the two halves of my brain (intuitive and calculating) are equally matched to the task at hand. The "trigger" has often been the effort to musically recall the "ecstatic" feelings one has at "magical places"--where the spirit of man and the spirit of nature meet with mutual reverence. It took a lifetime to realize that my early fascination with such places was child-like wisdom, not childish sentimentality.
When do you have your most lucid moments, in the morning or night?
Early morning and late at night. That may be partly because I have for years made my living teaching children music lessons, which takes place primarily in the afternoon and early evening.
Have you ever awoken with a melody created from your dreams?
Yes.
How do you know when a song is finished or needs no more changes?
Good question. But, somehow, I do (or at least I think I do). I don't like re-editing old works, but have learned to "get back into it" because of editing and proof-reading for publishers and performances.
How did you discover your creative territory? How would you describe it?
My Dad was a minister. At first, we didn't have the funds for me to have a piano or lessons, but we lived right next to the church, where I spent many hours exploring sounds on the pianos there. One of the members of my Dad's church was the conductor of the Dallas Symphony. In return for letting him use church classrooms for auditions, my Dad asked if he would talk with me about music. At age 10, I had lunch with him, and he enthusiastically shared with me (treating me as a fellow musician) things about colorful orchestral pieces. I first heard the music of Sibelius performed live and, being a fellow nature-freak, fell in love with it. When I was 12 years old, my Dad bought a piano, and I started lessons with a man who directed another church's choir. He nurtured me as a piano player, a budding composer and a shy boy. At about that time, my family attended church retreats at Ghost Ranch in northern New Mexico. The color and space there stimulated "ecstatic" (in its original Greek usage—ek statis—“standing outside ourselves’’) connections in my young (but old) soul. I composed short pieces on the piano in the convocation hall. Upon returning home, I was amazed at the color and "space" that seemed to have been trapped in those little pieces, so I vowed to live and compose someday in such a place.
What part of your job is your least favourite?
Proof-reading & correcting parts
Which musicians or groups have been inspiring to your career?
In the 20th Century: Jean Sibelius, George Gershwin, Leonard Bernstein, Dmitri Shostakovich, Sergei Prokofiev, Bela Bartok. Before that, tons more.
 

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[michaelmauldin]
Michael Mauldin: American Composer
Albuquerque, New Mexico, USA


[michaelmauldin] Michael Mauldin: American Composer
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