Composition
To this day, John Beckwith has composed over 130 large works. While the majority of his important works are settings of Canadian texts for voice, he also has many compositions for orchestral and chamber groups, as well as solo instrumental pieces and choral music.
While some of his music explores 20th Century techniques, most of his compositions have themes that connect in some way to historical or regional Canada. He spent much of his time creating arrangements of Canadian folk songs, and has set around 200 of these songs, including Four Love Songs (1969) and Five Songs (1969–70). Most of these were set between the years 1981 and 1991 during his involvement with Music at Sharon (a summer concert series in Ontario) As well as Canadian folk song, many of Beckwith's works are inspired by his experiences with the Canadian environment.
Beckwith collaborated with many Canadian writers when setting tect for voice, including James Reaney, Jay Macpherson, Margaret Atwood, and Dennis Lee. The longest of these collaborations was with James Reaney, which resulted in many of his most admired works, such as Night Blooming Cereus (1953–58), The Shivaree (1965–78), Crazy to Kill (1988–89) and Taptoo! (1994).
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Famous quotes containing the word composition:
“If I don’t write to empty my mind, I go mad. As to that regular, uninterrupted love of writing ... I do not understand it. I feel it as a torture, which I must get rid of, but never as a pleasure. On the contrary, I think composition a great pain.”
—George Gordon Noel Byron (1788–1824)
“Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.”
—James Boswell (1740–1795)
“Since body and soul are radically different from one another and belong to different worlds, the destruction of the body cannot mean the destruction of the soul, any more than a musical composition can be destroyed when the instrument is destroyed.”
—Oscar Cullman. Immortality of the Soul or Resurrection of the Dead? The Witness of the New Testament, ch. 1, Epworth Press (1958)