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Hearing Voices

Classical music has been at the forefront of racism for an incredibly long time. That’s right, it may surprise you that something traditional and beloved like classical music has been on the front lines of racism. But it’s true, classical music has quite successfully ignored the voices of minorities for…like…ever.

“But Tim, that’s just not true, classical music is for everyone! We encourage people of all backgrounds to cough together, as a team. We even invite children to attend if they’re completely silent, don’t move, and don’t touch their program books. And just check our standardized conservatory text books, they even have a female composer and an African American composer in them.”

Our system is fucking broken and if you dare try to mention Hildegard von Bingen to me again, I swear to you…

There are a lot of incredible composers who identify as female from the last 841 years. Go listen to them. Just like there are a lot more African American composers beyond William Grant Still. Go listen to them.

“So Tim, you think they’re not important and that we should never perform music by the Lord our father Ludwig van Beethoven!?”

No you nitwit, I didn’t say that and don’t interrupt with stupid questions. That’s a stupid question. Are you also sponsoring hashtag All_Composers_Matter? You 🤬 missed the point. I’m not minimizing any of these important composers. I am, however, saying that we could and should have been doing more for…like…ever.

I work in the arts, I’ve managed arts organizations. I know it is insanely difficult to convince audiences to buy into anything that’s different. Arts organizations were already on shaky ground before the global pandemic. We’ve been losing audiences because we’re not relevant. But if we try to be relevant we lose our major donors. Those are facts. I’ve seen it happen. I’ve sat in those meetings.

No, I don’t know have the answer. I’m just another fool on the internet, but I know that I haven’t done enough. There are a lot more voices to be heard besides the ones who have already been heard and heard and heard and heard (and keep repeating “and heard” for every orchestra that was going to perform a Beethoven symphony this year).

So please, knock yourself out in the comments section and reiterate how I’m a huge fucking hypocrite. I’m in good company.

We can do more. Need a place to start? Go listen to “The Last Seven Words of the Unarmed” by Joel Thompson if you haven’t already. After that, let’s do more.

Tim Corpus is a composer with a genuine lyric impulse. He writes music that is at the same time challenging and appealing - which should be the ideal of any composer. He has a wonderful ear for sound and for shape. This is a composer with a real and important voice.

Henry Fogel Retired Dean of the Chicago College of Performing Arts and CEO/President of the Chicago Symphony Orchestra

...`{`Three Pieces for Five Timpani`}` is an outstanding addition to the literature for timpani and great for advanced recital programs.

George Frock Professor Emeritus, The University of Texas

Tim Corpus is a wonderfully skilled composer who has important things to say with his music. His debut album, Breath, is extremely impressive. Beautiful and exciting music to be sure!

Larry Alan Smith Composer

Tim Corpus' music is complex, original and steeped in tradition. His Three Pieces for Five Timpani is clearly an extension of the composers, such as Elliott Carter, that came before him. The pieces are challenging but fulfilling to learn and perform. Possibly the most important thing about Tim's timpani writing is that audiences will enjoy listening to his compositions. He is taking solo timpani writing to the next level.

Ed Harrison Timpanist of the Lyric Opera of Chicago

The melodic gestures in Tim Corpus' masterful piece for strings, ``Breath``, are paced so that a listener’s respiration pattern aligns itself instinctively with the slow and even pulse of the piece. Breath creates a powerful performer/listener symbiosis, a remarkable accomplishment on the part of the composer.

Steven Gryc Composer

Tim Corpus’s music is beautifully lyrical, nicely voiced and technically well-realized. In person, he is a pleasure to work with. We very much enjoyed recording his first two string quartets and hope to see more from him in the future.

Jen Leckie Violinist, Grant Street String Quartet

I recently had the pleasure of conducting the premiere of First Flight. It is artfully written, fresh, unique, and best of all – a beautiful piece of music! Tim is a major talent with big things in store for his future. It clearly deserves a permanent place in the repertoire of any serious wind ensemble. I can't wait to program it again!

Stephen Squires Conductor, Chicago College of Performing Arts Wind Ensemble

I have worked with Tim Corpus as a performer, composer and teacher. He brings passion and energy to his craft. He is a young lion who is making his mark on the Chicago music scene.

Kevin Miller Retired Band Director, Schaumburg High School

I've had the pleasure of knowing Tim for years now, and I learned very quickly that his passion and talent as a performer and composer are unquestioned. Everything he does is handled with a rare combination of intensity and care, and his works display such attributes. His lyricism in particular, along with his rich, beautiful harmonies and intricate polyphony set him apart from many of his colleagues. In a world littered with simple, non-intellectual music, Tim is breaking through and creating a new, exciting, accessible, and, most importantly, intelligent style of music that is imperative to the future of our art form.

Matt Bronstein Axiom Brass Quintet

Breath is very professionally produced, and the overall impression is of a lyrical and rhapsodic voice. I think Breath is a great starter, very ample and serene, even ecstatic. The second quartet is lively and engaging throughout.

Dr. Robert Carl Composer
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