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K
nific,
B
ornheimer,
Zach
Bornheimer
was in RSMI’s
jazz program
in 2017.
Gene Knific is a Chicago-based
composer and pianist.
, is a jazz sax-
ophonist and composer who has
similarly built an international
reputation. He was among the nalists
for the
Herb Alpert Young Jazz
Composers Award. His
Bridges
-winning
work,
Haunted Lullaby of the Forgotten
,
took a cue from a well-known Broad-
way musical. “I was initially inspired
by the violin sound of
Fiddler on the
Roof
, and it begins to grow from there,”
Bornheimer revealed. e in uence of
Fiddler
is immediate, but Bornheimer’s
work clearly creates its own identity.
It bursts with a stark, familiar
Fiddler
violin interlude and then seamlessly
ows and twists, transitioning into new
moods while retaining a somber theme.
“I worked hard on those transitions,”
Bornheimer explained. “ ere had to
be the correct balance. I didn’t want one
sound to dominate. e goal was not to
repeat myself within the piece.”
e composition is wandering yet
cohesive, with its hymn-like ending
harkening back to its solemn opening. “I
tried to add layers of depth. It’s melo-
dy-driven, with delicate moments and
strong ones,” Bornheimer said. “It’s all
about creating a musical journey worth
going on—for the composer and the
listener.”
Bornheimer hopes the piece can
inspire others. “I’d love for teachers and
students to examine this piece one day
and nd things that I didn’t even intend.
I’m not sure that will ever happen, but
it would be interesting for me as a com-
poser,” he noted.
, is a pianist, com-
poser, and producer based in
Chicago, so even though he’s
not an alumnus of RSMI, he’s not far
removed from Ravinia. He has per-
formed worldwide and received eight
Down
b
eat
Magazine
awards in jazz and
contemporary categories, and two
ASCAP Young Jazz Composers Awards.
“I have both a classical and jazz back-
ground, so I set out to use the rhythms
of classical and the improvisation of
jazz,” Kni c explained. “I tried to write
for each instrument, and for the skill
set of the musicians. But I do hope the
classical players feel comfortable going
‘o the script.’
“Jazz is improvisational, and for jazz
musicians that’s instinctual. I’d like to
give the classical musicians the encour-
agement and freedom to try new things
in my piece. You begin with parameters
and then expand those parameters.”
ose parameters were expanded, for
example, with great success by Bern-
stein, as well as by near contemporaries
such as Aaron Copland, Kurt Weill,
and Darius Milhaud, and, of course, by
George Gershwin in his historic
Rhapso-
dy in Blue
. “It’s not a stretch to combine
jazz and classical. Igor Stravinsky went
to see John Coltrane perform. ere has
been a mutual respect,” Kni c added.
Unlike his fellow winners, Kni c
submitted his piece, Septet, only as a
written score, not with a recorded copy.
“I didn’t have the time or the money to
hire musicians,” he said. “I have played
a bit of it on a computer, but right now,
it’s just on paper. e rehearsals for the
Ravinia performance will be the rst
time I’ll hear it played.
“To have it performed by such a
group of talented and accomplished
musicians will be special. is entire
contest has been a blessing,” Kni c
confessed.
From a judge’s perspective, Reid
echoed Kni c’s enthusiasm. “I was
excited by the creativity and energy I
heard in all the
Bridges
submissions,
especially the winners, and by what may
be created moving forward now that the
huge barriers between classical and jazz
are coming down,” Reid declared. “ is
competition can cut a new path and
motivate young composers to have at
it—to go for it.”
James Turano is a freelance writer and a former
entertainment editor, feature writer, and columnist
for national and local magazines and newspapers.
He has written official programs for eight Elton
John tours since 2003, and is also a Chicago radio
personality and host, heard regularly on WGN
Radio 720AM.
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RAVINIA’S STEANS MUSIC INSTITUTE