The climb of a music orchestra conducting expert : Salt Lake City’s Logan J. Blackman: Let’s start by having you describe your sound to our readers… Logan J. Blackman : Symphonically, my sound is very grand and cinematic. However in my chamber works, I tend to take a much lighter tone. My Bassoon Duets, “The Logic of a Mad-Man” is nothing but one big satire/comedic piece. Is it true you’ve been making music since you were a child? Logan J. Blackman : Yes! I have been making music since I was 12, but I began writing at around 14. Discover extra info at Logan Blackman.
UK Symphony Orchestra is part of the UK School of Music at the UK College of Fine Arts. The school has garnered a national reputation for high-caliber education in opera, choral and instrumental music performance, as well as music education, composition, and theory and music history. To hear Robinson, Blackman and Maestro Nardolillo talk about the upcoming concert, visit WUKY’s “UK Perspectives” interview with them here: http://wuky.org/post/uk-symphony-orchestra-brings-tragedy-and-triumph-stage#stream/0.
The second half of the program offered much lighter fare and focused on Bernstein’s compositions for theater, stage, and film which involved collaboration with with several lyricists, the two most notable being Stephen Sondheim and Stephen Schwartz. After Intermission, clarinetist Scott Wright, the UK Jazz Ensemble and conductor Miles Osland took to the stage with Bernstein’s Prelude (for the brass), Fugue (for the saxes), and Riffs (for everyone). The Prelude was a jazzy, cool, and rhythmic exposition for the brass, drums, and bass. The mellow saxes teased each other unmercifully in the Fugue but were provided full support, be it point or counterpoint, in their individual and collective fugal moments. The Riffs ensued when Scott Wright (Professor of Clarinet at UK) took the lead with the big band sound as he masterfully interacted with everyone, fully engulfing the call-response format near the end that garnered the well-deserved acknowledgement he received from the ensemble and audience alike. I felt as if I had just been to church while heeding the call of the wild.
With a passion for composing, Blackman finds writing his own work very rewarding. “After I put down the last note, I love looking back at the work as a whole and admiring what I have created. To me that is one of the greatest feelings in the world!” Blackman, who chose UK for his studies based on Lexington and the school’s orchestra and faculty, is excited for the opportunity to share his music with a Bluegrass audience at the next UK Symphony Orchestra concert. “This is the greatest honor of my life so far. It is an honor to premiere a work with such a distinguished ensemble, but it is an even greater honor to bring it to life with my friends and colleagues. I am very grateful for this amazing opportunity.” Discover extra details on Logan J. Blackman.
When Blackman got to the University of Kentucky, he started working on adapting “Prayer” into an orchestral work, at first simply transcribing it. But then, he started to do more, and the work attracted attention. “He joined the orchestra as an undergraduate bassoonist, and it soon became clear that his interests were wider than just playing the bassoon,” UK Symphony Orchestra director John Nardolillo says. “I knew he composed, and he asked me if I would look at the score to this piece he’d been working on. Then he asked if he could take some conducting lessons. So he was working on conducting and I looked at the score, and the score is interesting, and his level of commitment and involvement and interest in conducting, composition and performing is quite high. The story of the piece is compelling, and it seemed like we were in a position to help him with those things.