About Me (Must include biographical information about you as a composer):
Richard Schletty is a performing songwriter from St. Paul's West Side where he and his wife Pat have been raising seven kids.
Richard's college buddies from St. John's U in Collegeville, MN, formed a band in the early 70s called Rocka-Rolla. They still get together once or twice a year to perform early rock classics for smallish crowds.
Schletty is an experienced cantor, songleader and choral singer. He sang at Masses, funerals and weddings for many years at St. Matthew's Catholic Church on Saint Paul's West Side. He currently sings at St. Mary's Catholic Church in downtown St. Paul.
In 2007, Richard joined the bass section of Waltham Abbey Singers, a local Renaissance-Baroque choir which performs sacred music a cappella. The director of this fine chorus is Brian Link.
Richard has done gigs in local coffee shops, singing his own Folk-Rock originals. As a member of the Minnesota Association of Songwriters and the Catholic Association of Music, he is striving to improve the form and content of his songwriting and the resonance of his solo public performances of Folk-Rock and Praise music.
A major opus called "Hungry For Heaven" is in formation with excellent composer, guitarist and synth instrumentalist David Gómez Sanz, who lives in Spain. It is just one of many internet collaborations Richard has done since the summer of the 2004. Schletty uses his Macintosh computer to tap into collaborators via email, music sharing web sites and FTP file transfer. His favored program for digital recording, sequencing and mixing is Apple Logic Express.
Richard does collaborations with André van Haren, a Dutch composer living in Sweden. They are working on Trauerlieder, songs of love, as well as full orchestral compositions with voice. Long range, we are planning to produce one or two operas.
I am in your debt. I think I probably learned as much about orchestration as anybody due to the fact that over the course of a few weeks you rendered a completely believable orchestral sound.
I received your email about you taking up the violin.. Thats great.. I believe that unless and until a composer knows a little about what it takes to make a good sound on any instrument, they are not able to write effectively for the instrument. Its too easy just to assume that whatever one writes is playable. Sometimes thats true but most of the time the first instinct about what can be played (without endless rehearsal) is fictional. This perhaps explains why you hears such awkward writing on this and other forms.
Just the act of holding the instrument is instructive, trying to get a credible sound out of the thing is darn near impossible but with 2 or 3 hundred years of hard work the sound begins to appear.
The easy expediency of computerized sound I think leads many young composers to believe that what they write is actually playable. An experienced performer, on the other hand, may look at a part and think, "I didn't spend 25 years practicing to make this unplayable thing sound like music."
Thank you once again for your hard work on the Essay.
You asked if I was writing something else.. All I can say is that I'm starting a number of things. Usually they wind up in the trash.
new photos on my page showing confusingly similar photos of Paul Hindemth and Paul Hindenburg, John Dowland and Boyd Dowler, Larry and Bill Bird, and Orlando de Lasso and "de Lasso" and a great new pic of Cloudio Monteverdi.
Live music? Hold on, let me catch my breath. You mean where actual people are involved?
I imagine a concert in which all of the sounds are created electronically and the composer is a creation of the merry pranksters at X box.
Just as there is no live music, in this imaginary concert there is no live audience. The concert is broadcast via some device whose signals can only be detected by an esoteric recording apparatus developed by a 12 year old mongol lass in a yurt outside of Ulan Bator. No one is able to actually hear the music because the instructions for the operation of the recording device were phoned by the young mongolian to a swede in a phone booth in Oslo who, not knowing one word of mongolian, wrote the message phonetically to be later translated by a dislexic agnostic amnesiac. Upon receipt of the swede's message the translator dozed off only to wake with a start and shriek "There is no dog."... Anyway you get the idea.
Your offer is most generous. Ill send over an Improbable Impromptu in C. Tell me if you think its worth the effort.
I am not a musician, therefore have no access to musicians and thus no live performances that survive into recorded form except maybe for Elegy for Tuba and Piano (kjos) that I think may still available on Crystal.
I use Sibelius notation software, but do the actual composition, including use of manuscript paper, pencil, large paper shredder and a yamaha keyboard. Beyond that I own no other electronic music jiggery pokery. I don't even know where to start on that subject, should I purchase "Logic" that is suppose to be highly compatible with Sibelius? Garritan? Cubase?
Adding to the confusion is that where I live we are a lucky to have 'lectricity. Most of the folks up here in the mountains are pretty sure its just a passing fancy, although some of them have upgraded by getting rid of their television sets and getting something called radio, a device that allows one to hear things without that annoying picture to distract.
Talk about inept, Hell, I don't even know how to convert .sib into MP3. I thought I had it figured out with Statements for Clarinet and Sting Trio (this piece, instead of being called "Statements," was going to be called "Credit Memo" but that made even less sense). But when I posted it, as they say "No-Joy."
Thus the hard sounds for which I apologize.
Your music, on the other hand, is very attractive and well produced. I wish I could figure out how to get a sound like that.
Ah well, maybe in another life I'll figure out some of the tricks of the trade, but right now its time for a bowl of gruel and keeping an eye out for Sand Hill Cranes that we usually see up here about this time of year.
A few weeks ago, Roger Frisch, Associate Concertmaster of the Minnesota Orchestra was kind enough to perform my Serenade for Violin and Piano at Northwestern college.
I did not attend. Other of my "music" has been performed in Minnesota prompting then governor Jessie Ventura to enact a law stating that, on the basis of the noise my music makes, it would be appropriate for him to put me in a sleeper hold if I should set foot in Gopher-Land ever again.