Maria Schneider
The Motion Composer
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"Music is not something we all started in order to get a job. It strikes us early in life as something powerful and necessary"- Maria Schneider
"Music is not something we all started in order to get a job. It strikes us early in life as something powerful and necessary"- Maria Schneider
An American Jazz Composer?
An American Jazz Composer?
To say Maria Schneider is an American Jazz composer from New York would be both a truth and a lie. A truth because she is in fact an American composer, however, a lie because to encompass her pieces simply as jazz would be a drastic understatement. No, Maria Schneider is indeed not just a jazz composer. She is a hybrid of (in her own words), “jazz and classical and things like Brazilian and flamenco” which is a great way to describe her vivid pieces. But like most of society, we all beg the question of where such innovation and inspiration come from? Especially when such pieces deviate so much from the norm? Well, for Maria Schneider it all falls on her eccentric mentors and her desire for motion.
Her Story
Her Story
Maria Schneider's story begins in Windom, Minnesota on November 27, 1960. Here, she will have an array of inspirations for her music. Such inspirations such as flying sessions with her pilot father, who owned his own small private plane he kept behind their house. In an interview, she reminisces about the time in the sky and how it impacted her music stating, “I feel like I’m outside of myself and the world when I’m flying. So I think I like my music to feel like that.” (Kelly) Besides flying with her father, she spent a small amount of time figure skating and a great amount of time playing the piano. In fact, this is where her music career truly developed. From ages five to seventeen, Maria Schneider played the piano and studied music theory with her mentor and teacher Evelyne Butler. Had it not been for this pianist instructor, Maria Schneider may very well not be the composer we have today. She states, “She’d help me do simple stride-piano arrangements that got me thinking about composing and arranging.” (Sturm) Although the seed of composition was planted at a young age, she didn’t attempt it until she reached college.
At the University of Minnesota, she earned a Bachelor of Music degree in theory and composition and later earned a Master's degree from Eastman School of Music. It was at Eastman School of Music that propelled her into the composer’s role. There, her composition professor recognizing her talent, initiated her to listen to the schools’ big bad rehearsals and write for them. This struck a spark that would grow and led her to renowned arranger and director of Eastman School of Music Jazz Studies, Rayburn Wright. She credits him with being "the biggest influence" (Kelly) for her personal growth. She later would be nominated for the National Endowment for the Arts grant, to study with Bob Brookmeyer who she acknowledges helped her break free from conventional jazz forms. After that venture, she became Gil Evans copyist, which would further inspire her to twist and morphed her own unique jazz music. Not soon after, Maria Schneider would gather together a band and bring the world her own music.
(The pictures are from Strum article)
Maria Schneider and Evelyne Butler in 1978
Maria Schneider and Evelyne Butler in 1978
Rayburn Wright and Maria Schneider after her final recital in 1985
Rayburn Wright and Maria Schneider after her final recital in 1985
Following her Career
Following her Career
Before Maria Schneider hit the big leagues on her own, she was already doing impressive climbs in the music industry. As a copyist to Gil Evans, she was a great contributor to his works and projects and became a ghostwriter for his music. She assisted him with Sting's 1987 European tour and conducted his personal Orchestra, all before she was an established composer and conductor. It wasn’t until 1993 that she formed her own band with her then ex- husband John Fedchock that would find a temporary space at the Greenwich Village. In addition to this newly formed band, she would also be commissioned to compose and conduct orchestras ranging from Sweden, Finland, Germany, Nurnberg, Holland, and Paris. However, the success of her first band and her marriage wouldn't be long-standing as the band would eventually break away and she would file for divorce. Despite such hardships, Schneider would overcome and create a new band orchestra that's taken the world by storm called The Maria Schneider Orchestra.
This new orchestra would find a home at Greenwich Village just as her old band. But after five years, she would venture out and release her first album Evanescence in 1994 in dedication to her mentor Gil Evans. Two years later, her Orchestra would have a second recording, Coming Out in 1996, which received a five-star rating from Down Beat. It was around this time in her popularity that Schneider made a crucial decision to leave her record company (Enja records) for another route of progress. You see, despite her music being a success to audiences it unfortunately wasn't supporting her financially due to low funds on her music projects and delay in royalties . In response, she decided to take matters into her own hands and developed with business partner Brain Camelio Artistshare. This digital platform is one of the major reasons why Schneider is able to create her unique sound till this day. Its accessibility to her audience allows her to gain feedback and commissions for her work, which she states gives her "a kick in the butt [she] needs" (Bream) to keep making her music.
"A Jazz Master"- National Endowment for the Arts
GRAMMY WINNER AND NOMINEE
GRAMMY WINNER AND NOMINEE
Evanescence (1986): Nomination
Evanescence (1986): Nomination
Coming out (1996): Nomination
Concert in the Garden (2004): First digital-download only album to win an award
Sky Blue "Cerulean Skies" (2007): Grammy for best instrumental composition
Winter Morning Walks (2013): three Grammys for; Best contemporary classical composition, best classical vocal solo, and best-engineered classical album
"Sue ( Or in a Season of Crime)" (2014): Grammy for arrangement
The Thompson Fields (2015): Grammy for best large Jazz ensemble album
Datalords (2020-2021): Grammy for; Large Jazz Ensemble Album and Best instrumental composition, 'Spuntnik'
HONORABLE CAREER MENTIONS
Advocate for Music Rights
Advocate for Music Rights
Schneider has brought awareness to congress and multiple platforms on the importance of advocating against data companies and their effect on the music economy. You can read her extensive article here.
David Bowie Collaboration
David Bowie Collaboration
In 2014, Schneider created a unique arrangement that won a Grammy for no other than David Bowie. She elaborates on her enjoyment working with him here in an interview.
Assisted Gil Evans in Orchestration
Assisted Gil Evans in Orchestration
While under his guidance as a copyist, Schneider became a ghostwriter and assisted him in a song for the film titled "Modern Blues." You can listen to the cool funk song here.
The Schneider Experience
"I don't want people analyzing my music when they hear it: I want to take them on a ride"- Maria Schneider
"I don't want people analyzing my music when they hear it: I want to take them on a ride"- Maria Schneider
As seen above, Schneider has an incredible track record with her career, now's the time to see why. What makes Schneider's music impactful within the world of Jazz is her ability to create a sense of motion within her compositions and for her audience. Whether this motion is a physical one with the tapping of the feet, swaying of the hips, or an internal motion with feelings and emotions — she wants you to move. Or rather, she wants to move something besides the analytics behind her music. Granted, her arrangements indeed hold value in evaluation with the specific choices she takes when she writes. However, for her, that's not the goal behind her music. She states, “To me, music is motion. I largely now figure out my music by dancing… Maybe the movement helped me really find something else in my sound. Now I almost can’t write a piece without dancing” (Geyer). We can hear such revelations of motion take effect throughout all her pieces.
PRESS BELOW TO PREVIEW HER MUSIC
PRESS BELOW TO PREVIEW HER MUSIC
This particular song "showcases her skill at writing gorgeous melodies for horns and shifting moody harmonies" (No Boundaries).
This song has brighter tones that exude a sense of mellow yet energic pulses through the main melody.
This song has a smooth tempo with certain high points and pitches that keep you engaged throughout.
This song has a slightly more haunting feel, with the soft piano accompanied with textures of sharper sounds that makes you feel like you're in an enchanted garden.
This particular song (and album) was written for her personal friend who sadly died from cancer. Something that Schneider was also diagnosed with. The song holds a contradicting melody of deep and light registers that makes you both happy and sad.
This song has so much life and essence. The tempo keeps you steady but the splash of the harmonies makes you feel like your standing in a field feeling the wind across your face walking steadily on.
This song pours out passion and vivid pictures. The clashing of instruments all creates one harmonic motion of an energetic and lively beat that makes you feel powerful.
Each Swipe correlates to the left. See the album cover with each song
Each Swipe correlates to the left. See the album cover with each song
A CLOSER LOOK IN HER MUSIC
A CLOSER LOOK IN HER MUSIC
Although Schneider doesn't necessarily want us to go into her music with an analytical mindset, I do believe it's important to look at her pieces in that light. The reason why Schneider’s work is controversial within the Jazz realm is because of how her form for her work is created and executed. Her orchestration still “maintains a standard big band instrumentation of five saxophones, four trombones, and four trumpets; Schneider has developed her own sound with frequent use of mutes in the brass, different woodwind instruments, flugelhorns, and different Latin rhythmic patterns” (McKinney) which we’re able to hear in different formations with her work. Another important factor to her compositions is her ability to “weave the solo sections into the fabric of the pieces." As seen with the small preview of music I’ve provided, there are moments where the song soloist carries the orchestra to a place that drives the song. She elaborates, “I don’t want just a string of solos that could be edited in any order without it making a difference in the overall feeling of the piece. I feel best when solo sections have a special character that only happens once” (Stewart). With all this into account, we can see and hear why Schneider’s music is not only influential to her orchestra members, but to us as an audience.
"You do it because you have to. You work so hard and you achieve something and people love your music, you should have the chance for an appropriate monetary success that goes with it. It should be possible. It's becoming quickly impossible. I want young people who are musicians to have that possibility"- Maria Schneider
"You do it because you have to. You work so hard and you achieve something and people love your music, you should have the chance for an appropriate monetary success that goes with it. It should be possible. It's becoming quickly impossible. I want young people who are musicians to have that possibility"- Maria Schneider
WANT MORE SCHNEIDER CHECK OUT THESE LINKS!!!
WANT MORE SCHNEIDER CHECK OUT THESE LINKS!!!
Maria Schneider is someone who strives for greatness but in a way that is true to herself. She is an individual who doesn’t limit her success to herself, but rather, shares in the glory with her band members and those who’ve influenced her music. Therefore, I believe it is not fair to limit her to just a composer because she is much more than that. She is a woman who is revolutionary in her own right, but beyond that, I believe she is also your friend. The music she creates, although it gives her great satisfaction is not supposed to raise her, but it is meant to raise you. Whether you be a musician or not, I believe she wants you to find your own motion and run with it.
Maria Schneider is someone who strives for greatness but in a way that is true to herself. She is an individual who doesn’t limit her success to herself, but rather, shares in the glory with her band members and those who’ve influenced her music. Therefore, I believe it is not fair to limit her to just a composer because she is much more than that. She is a woman who is revolutionary in her own right, but beyond that, I believe she is also your friend. The music she creates, although it gives her great satisfaction is not supposed to raise her, but it is meant to raise you. Whether you be a musician or not, I believe she wants you to find your own motion and run with it.
"I believe you've all studied to become master messengers and master healers. What an odd and profound thing to do on this planet...and at this time when almost everything in the world tries to take us away from ourselves, to make us all feel the same, to make us believe in no other reality than the material reality they try to sell us. And here you are, searching every grain of yourselves to find and express your individuality. You are truly special people--people that our culture and our planet need now probably more than at any other time. I hope you will honor who you are. Don't judge yourselves in wasteful ways, as I am quite sure many of you have become exper in doing...Your true gifs are incomparable. The only thing that you can do better than anyone on earth is be yourself. That is what the world desperately needs from you. That is how we can best inspire one another"- Maria Schneider
"I believe you've all studied to become master messengers and master healers. What an odd and profound thing to do on this planet...and at this time when almost everything in the world tries to take us away from ourselves, to make us all feel the same, to make us believe in no other reality than the material reality they try to sell us. And here you are, searching every grain of yourselves to find and express your individuality. You are truly special people--people that our culture and our planet need now probably more than at any other time. I hope you will honor who you are. Don't judge yourselves in wasteful ways, as I am quite sure many of you have become exper in doing...Your true gifs are incomparable. The only thing that you can do better than anyone on earth is be yourself. That is what the world desperately needs from you. That is how we can best inspire one another"- Maria Schneider
WORK CITED
Anderson, Rick. "Maria Schneider Orchestra." Music Library Association.Notes, vol. 62, no. 4, 2006, pp. 1046. ProQuest, https://www.proquest.com/scholarly-journals/maria-schneider-orchestra/docview/196716387/se-2.
Bream, Jon. "Bringing it all Back Home: Jazz Composer Maria Schneider Returns to Perform a Grammy-Winning Work Born in Rural Minnesota." Star Tribune, Feb 15, 2017. ProQuest, https://www.proquest.com/newspapers/bringing-all-back-home/docview/1868431094/se-2.
Geyer, Ben. "Maria Schneider's Forms: Norms and Deviations in a Contemporary Jazz Corpus." Journal of Music Theory, vol. 63, no. 1, 2019, pp. 35-70, doi: 10.1215/00222909-7320462.
Kelly, Jennifer, et al. “Maria Schneider.” In Her Own Words: Conversations with Composers in the United States, University of Illinois Press, 2013, pp. 247–64. JSTOR, http://www.jstor.org/stable/10.5406/j.ctt2tt9pb.19. Accessed 15 Nov. 2022.
McKinney, Elizabeth. Maria Schneider's “Hang Gliding”: Dual Analyses for a Hybrid Musical Style, Duquesne University, Ann Arbor, 2008. ProQuest, https://www.proquest.com/dissertations-theses/maria-schneiders-hang-gliding-dual-analyses/docview/304637688/se-2.
"No Boundaries; Maria Schneider's Classical Jazz." The Economist, vol. 410, no. 8877, Mar 08, 2014, pp. 88. ProQuest, https://www.proquest.com/magazines/no-boundaries-maria-schneiders-classical-jazz/docview/1505353430/se-2.
Sturm, Fred. "Maria Schneider: As Far as Dreams Go." Jazz Educators Journal, vol. 32, no. 2, 1999, pp. 28-32, 34-37. ProQuest, https://www.proquest.com/scholarly-journals/maria-schneider-as-far-dreams-go/docview/1368273/se-2.
Stewart, Alex. "Contemporary New York City Big Bands: Composition, Arranging, and Individuality in Orchestral Jazz." Ethnomusicology, Vol. 48, no. 2, 2004, pp. 169-202. JSTOR, http://www.jstor.org/stable/30046263. Accessed 15 Nov. 2022.
Schreiber, Barbara A.. "Maria Schneider". Encyclopedia Britannica, 23 Nov. 2022, https://www.britannica.com/biography/Maria-Schneider-American-musician. Accessed 6 December 2022.
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