Ronald Beckett, composer & conductor

Who or what are the most significant influences on your musical life and career as a composer?

First and foremost, I always thank my childhood piano teacher, Raymond Daniels, who was flexible enough to not only teach me piano technique but also encouraged me to write my own original compositions and substitute them for standard lesson material. This early encouragement helped spark a lifelong creative path in music.

Secondly, while at McMaster University, I arranged to study composition privately with American composer William Wallace who initially encouraged me to experiment with writing music without a tonal centre. This expanded my creative approach and helped shape an early compositional style. It was a very good exercise, but not an end point. Wallace himself didn’t extend the practice to his own writing and neither have I.

Thirdly, there was Richard Carroll, a musicologist and choral master, who helped me through the transition from student to professional musician by encouraging me to explore choral repertoire, learn the organ, and eventually form my own ensemble (www.arcady.ca).

As for specific non-personal musical influences, all of us who have written counterpoint have been tremendously influenced by Bach. Early music technique has always been present in my style. At Western University, I was introduced to aleatoric music and influences from the 20th Century Polish school of composition. This exposure formed the basis of my Master’s thesis, Restitutio, A Symphony in Two Movements, and broadened my perspective on contemporar compositional techniques. The primary influence of my professional career, and especially when I started writing operas and an abundance of Christmas music, was the music of Benjamin Britten.

What have been the greatest challenges of your career so far?

Initially, I faced the challenge faced by all young composers seeking a voice, in that there were limited outlets for performances of new works in the traditional music scene, especially in Canada. Rather than allow my music to remain unheard, I created my own ensemble (Arcady Ensemble) to perform my own works.

Then, there is the challenge of balancing one’s own artistic vision with practical audience considerations. In creating works such as my three operas, I was challenged by the reality that contemporary operatic forms and advanced compositional techniques (e.g., 12-tone rows) might not resonate with audiences unfamiliar with modern opera. A adapted my approach — using traditional tonal structures when appropriate — to make the work more accessible while at the same time maintaining artistic integrity. This reflects a common challenge for composers seeking to innovate and reach listeners.Like most young composers, I initially needed to pursue other means of income outside of composition. Fortunately, my activities were all related to music and ensemble development which stood me in good stead later on. Founding and building Arcady into an ensemble of roughly 150 performers (professionals, emerging artists, and youth) has been a major accomplishment but it didn’t come without numerous challenges of its own. Organizing, mentoring, and sustaining a large, mixed-level ensemble is a study in artistic leadership. Sustaining and ensemble financially requires constant fundraising. Audience engagement requires time and energy. All this must precede the time spent composing.

What are the special challenges/pleasures of working on a commissioned piece?

Since I’ve always been in the position of writing for specific persons and programs, I’ve never put a huge emphasis on commissions. The ones that I have received have been fun experiences. I advise the young composers within my ensemble to seek commissions, but to be very careful in the process not to be involved in endeavours in which your heart isn’t.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles or orchestras?

Having my own ensemble, as mentioned, has been the driving force of my musical career. Arcady is driven by its emerging artists – approximately ten per year for whom I write original works. For young performers, first performances of works are essential to building the CVs, but the cost of commissions is beyond their financial means. The Arcady Emerging Artist program provides this opportunity for them as well as a vehicle for public performance of the new works. Balancing this mentorship with my own creative output does add complexity to my career, as time and resources must be shared between roles of composer, conductor, and educator. But these young musicians are on the verge of outstanding performing careers and the fact that they remain with the ensemble afterwards is a benefit to all – to the performer, to me, to the ensemble, and to the arts community in general. The benefits therefore far outweigh the challenges.

Of which works are you most proud?

My personal favourites would be the opera I Am…

my Woodwind Quintet

my

Woodwind Trio

my Viola Sonata

a few of my song cycles

and my music for Christmas.

How would you characterise your compositional language?

As mentioned in connection with my work as director of Arcady, I am usually programming entire concerts based on my own music. It is essential therefore, in order to maintain audience interest, to write music in a variety of styles. As a result, there isn’t a single compositional language or imprint that runs from one work to another.

My path has taken many twists and turns. As an undergraduate, I discovered the 12-tone technique. Nothing in music have ever captivated my interest as thishad. I was fascinated by the fact that in contrast to all other methods of composition in history which had evolved, this one was essentially the product of one man, Arnold Schoenberg. While a compositional method in which every note (and in the hands of later composers, every musical parameter) could be controlled was indeed fascinating and compelling, I soon realized that this would be a tool that needed to be employed in the correct contexts. I have used it in all three operas and a number of song cycles and other works, but with carefully constructed tone rows with diatonic elements that would keep the music within the reach of a general audience. I took the same approach later when I worked with aleatorism. I used it also as an internal tool and not an end in itself.

So, there are a number of influences that one will hear in my programs, and even within individual compositions. These will be anything from Renaissance motets to classic rock. I’m especially fond of irregular meters.

How do you work?

I work in different ways, depending upon circumstances and urgency. My preference is to write outdoors, working from a keyboard, pencil on manuscript, later transferring the works to the music software program for editing. The initial creative process is quick as I want to maintain a motivic integrity that could be lost if the process were to be deferred to a later date. I find it wisest to do it all in one sitting. If I have limited time, songs for solo voice are the quickest and most convenient to write as the formal structure is more or less already dictated by poem.

As a musician, what is your definition of success?

I like to think that musicians can influence peoples’ lives in very positive ways, whether in be nurturing the young musicians, providing public forums for established musicians, or providing uplifting experiences for audiences either in a live venue or through recordings.

What advice would you give to young/aspiring composers?

Young composers need to learn to advocate for themselves. Even at my initial stage of learning composition I needed to persuade the department to allow a private composition study.

Benjamin Britten once said “our job is to be useful.” I have always kept this in mind and can break it down into a list of suggestions that I have offered to younger composers:

1. Write for combinations of instruments that are prevalent, not obscure;

2. Be organized and be able to find a score and parts of one of your works from two decades prior at a moment’s notice;

3. Be willing and prepared to adapt your works to meet a new need;

4. Write at a level that will make you a friend, not a foe of performers;

5. Know your audience and be willing to write in a variety of styles;

6. Be a conductor. There is no better way to achieve what you want from a performance than to preside over it;

7. Study the works of other composers;

8. Study orchestration and learn from the masters. Certain techniques and concepts are timeless!What do you feel needs to be done to grow classical music’s audiences?

As composers, we need to create accessible works that connect with audiences emotionally. Speaking from my own experience, based on what has worked well and not so well, I have learned to adapt my compositional approach to consider what audiences will respond to, especially those who may be new to opera or classical music. For example, in my opera Ruth , I hesitated to write a full 12-tone opera because many in my audience might be hearing opera for the first time. Instead, I based Ruth on a tonal row with consonant, relatable passages that help listeners follow the drama. I also chose a shorter, more fast-moving format (about 78 minutes) with fewer long arias so that it’s more approachable for newcomers to the genre.

Concert music should be presented in ways that audience members – especially first-timers – can engage with emotionally and structurally.

It is also important to focus on themes and stories that audiences care about.

Again, I use Ruth as an example as its performances always draw a large audience. Ruth has a human, emotionally resonant story about love, courage, and community – elements that “speak” to audiences beyond technical musical interest.

This story-driven approach helps attract listeners who might not otherwise attend a traditional concert.

It is also essential to increase community involvement and mentorship and to help build a loyal base of both performers and listeners. Constant local engagement and frequent performances keep classical music present in peoples’ lives rather than as a rare event.

What’s the one thing in the music industry we’re not talking about but you think we should be?

The industry places too much pressure on composers to imitate specific (often commercial) styles as opposed to advancing the art as was done in the past. AI and samplers flatten aesthetics and streaming rewards familiarity over risk.

Over time, composers could be led to cater to adding to play lists rather than developing a personal musical language. The danger is producing a lot of technically sound music that is emotionally stagnant.

What do you enjoy doing most?

The initial creative stages of writing music are definitely the most enjoyable moments of my life. During the rehearsal and performance stages that follow, the works become “someone else’s piece” and are treated as such. I would be quite happy just writing music all the time.

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