Longtime music professor achieved a major goal with the Nov. 25 world premiere of his composition "Psalm 92" at the celebrated Carnegie Hall. The original work for wind symphony had been commissioned by Foothill High School Wind Symphony director Travis Pardee. After marching in the Macy's Thanksgiving Day Parade, the group performed at Carnegie Hall with singer Marie Osmond.
We asked LaBounty, who directs UNLV's Star of Nevada Marching Band, the Runnin' Rebels pep band, and the UNLV Community Concert Band, about his Carnegie Hall debut.
For many musicians, a Carnegie Hall debut represents a sign that they have "made it." What was this debut like for you?
It was special for a number of reasons, not the least of which included writing a piece that was musically and artistically challenging. Additionally, although art music is not, by definition, for the masses, I think it is important to write music that connects with the audience. I think "Psalm 92" fits into such a category.
How did this commission come about? After my previous experiences with commissioned works, the director of the Foothill Wind Symphony, Mr. Travis Pardee, approached me about the project. At the time I had no idea the work would be premiered at Carnegie Hall.
Tell us about your inspiration for "Psalm 92"
I attended a summer workshop at which the leader challenged us to sing through the Psalms as was the custom thousands of years ago. After the text to Psalm 92 caught my eye, I literally started "hearing" the melody using this form of 'free singing.'
Can you describe the work?
Although I conceptualized it having Middle Eastern style and flavor, it is written for the (western) wind symphony. Very lyrical, very singable.
How is writing a commissioned piece different from writing a piece on your own?
With commissions there are clear parameters, deadlines, and related artistic objectives set for the success of the project.
Were there any surprises for you in terms of how the piece was interpreted by the Foothills band?
Yes. The musicians made wonderful moments (in rehearsal) even more exceptional. There are numerous world premieres taking place in concert and recital halls throughout the world. Oftentimes the music is such that it affects the audience in dramatic ways. As much as I was expecting a superb performance, I was still surprised and pleased at the audience's response.
What does this experience bring to your teaching?
It opens the doors of new possibilities for my future compositions. There are many in the field researching both the theory and psychology of music composition. I think the aspect of inspiration will be examined even more in the future.
What's next for you?
A composition of mine for symphony orchestra -- titled Sharakan (which means "Hymn" in Armenian) -- is being considered for performance by the National Orchestra of Armenia this spring to help commemorate the 100-year anniversary of the Armenian genocide.
