Spotlight on... Peter Hamlin '73

Author: Andrew Throdahl

The Middlebury Campus spoke with Associate Professor of Music Peter Hamlin '73 to learn more about his creative work outside of the classroom.

The Middlebury Campus: What have you been working on recently?
Peter Hamlin: I just finished a set of three songs for a singer in Minnesota named Carol Eikum. They are settings of songs about baseball. Carol is planning to make a CD that has a baseball theme, so she has been commissioning pieces for that. I wrote a piece for flute and video game controller (the flute plays into a computer and the game controller controls how the flute sounds are processed). The piece is called "Grand Theft Flauto," and was written for Su Tan, Middlebury's composition professor. She's on leave this year, and will perform the piece on a tour that includes a performance at Middlebury this fall. I spent a week in Iowa making an electronic music CD with some old musical friends. Together we have a live electronic music improv band called Data Stream. We rented a cabin in the woods, hauled in a bunch of recording equipment and computers, and spent a bunch of time recording.

MC: Your music is accessible to inexperienced listeners, and yet you maintain a level of sophistication that makes it art music, as opposed to pop music. Can you explain how you balance so-called "high" and "low" art forms?
PH: I think the distinction between "high" and "low" art is somewhat artificial. Most "great art" (a Beethoven symphony, for example) mixes high ideals with a sort of earthiness and understanding of things that are most important to ordinary people. Many popular songs connect easily with a popular audience, but when you study them you realize the most enduring ones have the same kinds of artistic qualities as admired "art songs." When I write, I'm thinking more about creating a piece that works than about whether it will have popular appeal or be considered an "art" object.

MC: Music students can attest to Su Lian Tan's strong personality, and "Grand Theft Flauto" sounds like a nice match. How much can a performer affect or inspire your compositions?
PH: Su is a good friend, an inspiring person, and really fine performer. When I write a piece for someone, I imagine them playing it, and that definitely helps me give the piece a certain personality. I almost never write a piece in a vacuum, I write for specific performers, and I have those people in my imagination while I write. This piece has a lot of energy in it, and when I heard the first rehearsal I thought it really suited Su's talents and personality.

MC: Who or what else influences your compositions?
PH: My doctoral studies were with Samuel Adler and Joseph Schwantner. I've been greatly influenced by Sam's remarkable musical craft and his insights into what makes music work. Joe's music is filled with sonic invention, so I've been influenced by him in terms of finding imaginative orchestrations and textures. I was greatly inspired by my music teacher at Middlebury when I was an undergraduate, George Todd. I think George understands the creative process better than anyone else I know. I love a lot of music, but have been particularly fascinated by Harry Partch - I played in an ensemble devoted to his music just after graduating from Middlebury. I also find a lot of inspiration from colleagues in other fields. I've written settings of poetry by Jay Parini. I wrote a piece that was inspired by Bill McKibben's book "The End of Nature." I took a couple of math courses with Mike Olinick when I was a student at Middlebury, and have often since thought about mathematical ideas for pieces. I love being outside and often write pieces that reflect that. I wrote a piece last winter called "13 Kinds of Snow" that was written while I was enjoying many snowboarding and cross-country ski excursions.

MC: How do you manage your creative projects with your teaching schedule?
PH: I do a lot of composing in the summer and during breaks. I usually have ongoing projects through the school year but try to go light on deadlines during the school year. I really like teaching, and like to have a lot of time for it. But there's usually some time for composing in the schedule. It usually works out if I schedule the deadlines during a break so I can have time for the final blitz!

MC: How is 2009 shaping up for you?
PH: I'm still thinking about composition projects. I am not sure what will be next on the list. I just mailed off the baseball songs last week, so right now I'm getting ready for classes and will figure out what to write next when things settle down. I have two fun classes coming up - Music Theory II and a First-Year Seminar Songwriting Workshop - so those are on the front burner right now.