Inspiring
Heights:
Joan Tower
by Peter Aaron
“...and, at long last, some real recognition from
far outside the, er, ivory tower of the classical realm. But
guess what? She didn’t go.
No, I’m not,” says the renowned composer and
pianist, who turns 70 this year. “It’s partially
because of the cost of going; my husband and I would have
to pay our own airfare, and [the Recording Academy, which
runs the event] wants another $300 for him to get in. Plus
I would have to buy a fancy dress to wear. I’m flattered
to have been nominated, of course, but from what I’ve
heard it’s really all about the pop and country genres.
Jazz and classical are like fourth-class citizens at the Grammys,
which is a shame.” A shame, indeed. But few modern composers
have done as much as Tower to reach across the seemingly unspannable
divide between popular and classical forms and to promote
the work of their living peers. Over the years, she has participated
in countless panels and lectures and organized several festivals
honoring female composers. And as a composition it’s
“Made in America” that best embodies her populist
approach. A sweepingly dynamic piece commissioned by 65 community
orchestras from all around the U.S., the work ingeniously
uses a motif from “America the Beautiful” as its
theme. “It allows people to relate to the piece, no
matter who they are,” explains Tower. Since its inception
the piece has been performed by orchestras in all 50 states,
with Tower working directly with and conducting several of
them. “Made in America,” as well as its namesake
CD’s companion compositions, “Tambor” and
“Concerto for Orchestra,” is infused with the
composer’s rich lyricism, splashy colors, energetic
rhythms, dramatic dynamics, and explosive percussion—the
final trait one the New Rochelle-born orchestrator attributes
to the years she spent in South America as a child.
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