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In all cases previously mentioned those composers knew me, and set to work. They did their homework, and so did I. I told them to write anything they wanted and I would learn it. Neither side abused that. We knew the responsibility, time, and integrity required to make good on such a promise.
In the case of workshops with young composers, and sometimes preconcert preparations in single meetings with composers just a day or two before a performance, I find that the young composer does not know me, my work, has taken fingerings out of a book that doesn’t work, has written the highest notes possible as fast as possible, the lowest notes the same way (and as soft as possible), has tried to invent new notation that he/she expects to be sight-read and/or recorded, or upon discovery of what was incorrectly notated makes a change that further complicates the timing of the sax-o-athlete, which at least acknowledges that the saxophonist is human. In most cases, humanity is also forgotten, as the composer merely recomposes, with the expectation that the other human being will upload the information, and fully process. It doesn’t work that way for me. It seems inconsiderate and impolite to ask such of another person, much less expect it.

However, as we know, the next generation is able to thinks and act using multiple processes and multi-tasking, as humans are rewiring themselves. It is happening now and as you meet those people who are wired like you, treasure their abilities. As you do experiment, be patient and polite with your performer. You own your creative thoughts, but they need to be imparted to your performer in such a way that the performer can be your re-creative as well as creative ‘medium.’ If your manuscript looks like an architectural drawing (by the way, I love composer manuscript, as it tells me about them in a personal way, but it must be readable), or you invent new symbols, or ask too much in a short amount of time, don’t listen to your performer, or write music that you can’t ‘hear’ yourself, you will have problems in achieving musical success. Any one of these things can de-rail you, your performance and career. Your teacher, Lei Liang, earlier in his career wrote atmospheric, spatial, simple notation, and no more or less than was needed; later he added much more specific notation, such as may be seen in ’Yuan,’ in specific time frames, pitches, rhythms, etc. But his music is still of the same honest, true soul, a person who knows himself, and has something to express. He is a person of great character (and always was). Consider your models, and I wish you much success.

Looking forward to meeting all of you and learning your music, and am happy to hear from you through the process,

Most sincerely,
Ken Radnofsky

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