New York Études: an interview with composer Jeff Beal
You may not know it, but you’re likely to have heard at least one composition by the multi-faceted composer Jeff Beal. This five time Emmy Award winner’s music has underscored numerous movies and TV shows, including Pollock, JFK Revisited, House of Cards, Monk, and numerous other projects. In addition to his thriving career as a film composer, his commissioned concert works have been performed by a glittering array of orchestras, choirs, and solo musicians all over the world. He is, in short, a musician’s musician. His music blends sophistication and accessibility, jazz and classical. It finds a rare balance between poignancy and warmth.
In his recent album, New York Études, Beal’s singular style is enhanced by the intimacy of a solo piano. Composed and performed by Beal in his home, these gorgeous tracks reflect not only his gift for singing melodies and beautiful harmonizations, but also the healing he found at the piano after being diagnosed with Multiple Sclerosis. In referring to his journey with the disease, Beal writes,
“The practice of making music is of utmost importance in my daily life. When I received my diagnosis, I researched ways that I might strengthen my brain. Learning about music’s impact on neuroplasticity, or the rewiring of the brain around areas of damage, gave me the impetus I needed to spend more time at the piano. These compositions are an organic result of this.”
New York Études is a celebration of healing and hope. The music transcends Beal’s personal journey, inviting all of us—through the beauty of the notes—to find our way to our own wholeness. It is a privilege to feature Jeff Beal and this album on No Dead Guys.
When did you first begin writing music and what was your first composition?
I started doing arrangements for my middle school jazz band around 12 years old—the first piece I recall was a 3 part "Jazz Suite" composed for the high school jazz band in my home town of Castro Valley, CA. I remember our director at the time had me conduct it at a jazz festival and we took a top prize. I think that sheet music is still in a box somewhere at our home in NYC.
I understand that the trumpet was your first instrument. When did you begin playing the piano and what drew you to the instrument?
Actually, many years before the trumpet, we had a piano in the house and from an early age I would sit down and pick out melodies I knew by ear. Later on around age 10 or so I started learning harmony. Since then I've used the piano as my main composing instrument. I always loved spending time at the piano playing sonorities—with the pedal down—just to hear it ring. I would use that time to begin to define my sense of melody and harmony.
As a five time Emmy winner, you are most known for your critically-acclaimed soundtracks. When did you begin writing them and how did you break into the business?
My senior year at Eastman I took a film scoring class taught by my mentor Rayburn Wright, and I immediately felt at home composing to picture. Before graduation from Eastman, I was lucky enough to meet the writer/directors who hired me for my first feature film, Cheap Shots. The film went to Sundance, and was released in theaters. I think every career has a combination of hard work and some luck—for me the defining moment was when Mark Isham (a fellow jazz trumpet player) recommended me to Ed Harris for his directorial debut Pollock. That score really put me on the map in Hollywood, and led to the big HBO series Carinvale and Rome, which led to my collaboration with David Fincher (one of his editors, Angus Wall was responsible for the wonderful visual design of the main title sequence for Rome on HBO).
One of the many things that impresses me about your multi-faceted career is your commitment to education, most specifically The Beal Institute for Film Music and Contemporary Media you created at your alma mater, Eastman School of Music. What are the most important things you wish to pass on to the next generation of musicians?
I think leaving the world in a better place than you found it in some way is something I’m passionate about. Eastman is a remarkable music school. After Rayburn Wright passed, for many years there was a discussion about how to re-integrate film music back into the curriculum there. I’m so proud of what our institute has become at Eastman—I love giving lectures and sharing my process, and also encouraging young artists.
Music is (for me) a language of storytelling, emotional communication, and catharsis. For our students at Eastman, I try to coach them to find ways to honestly and inventively express a unique and compelling point of view.
I’m one of the many people who became a fan of your music through your soundtracks, yet you write award-winning concert music as well. What do you feel surprises audiences the most about your compositions when they encounter them in the concert hall?
Speaking of surprise, I would say that it is a key component in all of my work. I feel music that somehow satisfies the expectation of a listener, but also presents the unexpected turn, harmonic, orchestral color, etc. is part of what people experience in a more concentrated form in my concert works.
Congratulations on the release of your solo piano recording, New York Études. Given that you write for many different instruments, why did you feel the piano was the right choice for these poignant pieces?
It really came out of the pandemic and lockdown. I really missed making music with orchestras as I often get to do when composing, and I turned back to the piano as a means of expression and performance. As I worked first on my technique and facility on the instrument, I eventually began to compose the études. As my primary instrument has been trumpet, I began to think of the possibility of presenting my work as composer in a solo performer context (quite hard to do on the trumpet!)—enter the piano.
I also thought about notes I’ve received from fans throughout my career—specifically relating to film scores where I’ve performed on piano. A lot of these pieces, from House of Cards, Pollock, and the Jessie Stone films, have had a lyrical rubato and almost contemplative feel to them. Listeners have constantly asked for piano sheet music, and also responded that the piano music was soothing for them to listen to. It felt like an idea whose time had arrived.
One of the things that intrigued me about this recording is your story about how piano playing helped you after you were diagnosed with Multiple Sclerosis. Can you tell me more about that?
Yes, this was a discovery in the process of working on these pieces. One aspect of dealing with MS is stress reduction as a part of a wellness routine—MS is a condition in which damage and symptoms can be triggered by stress. I also feel the continued activity has had a huge effect on my cognitive and general brain health.This is universal as we age, but even more important for those living with MS. Early in my diagnosis we found that most of my MS lesions were found (by MRI) on the corpus callosum—an area of the brain which connects the right and left hemispheres, and known to be hyper-developed in professional musicians. My wife and I both surmised that the constant music activity was providing a counterbalance to the more destructive aspects of my early MS progression.
In fact I’m very happy to say since 2007, although I have had occasional MS flare ups, I’ve had no new lesions or gray matter atrophy.
Also, brain plasticity (a somewhat recent discovery in cognitive science) has shown the brains ability to “re-wire” itself beyond damaged areas.
Because piano playing leverages both hands independently—and many other cognitive functions—it’s no surprise to me it has helped.
I enjoyed every single track on this recording and was particularly taken with your gorgeous chord choices and voicings. What jazz artists have had the most influence on your compositional style?
Thank you! I love harmonic color. All of these pieces were composed at the same piano on which I recorded them, and that was a big part of the compositional process. For me I’d say Keith Jarret, Bill Evans, and Brad Melhdau have all been influences on my approach to the instrument and harmonic color.
With its haunting, introspective melody, “Riverside Revelations” was one of my favorite tracks on this lovely album. What would you be willing to share about your inspiration for the piece?
The album is presented in the order the études were composed, this being the first. I composed it shortly after my wife and I relocated to a home in Manhattan a few doors down from Riverside Park. Shortly after moving in, the NYC mayor said it was OK to take off masks while outside. Walking through Riverside Park in the spring I recall the wonder of seeing human faces again. It was a very hopeful and profound feeling. I think this piece was inspired by that. Also, I think the whole album expressed a post pandemic sensibility of music for me—that is to say, the more simple and honest musical expressions felt the most meaningful.
Another of my favorite tracks is “The More Things Change.” I was particularly taken with how deftly you shifted chords around a repeated single note. Did this composition grow out of improvisation or did you begin writing it with this concept in mind?
Excellent analysis. Coming from jazz and improvisation—a lot of my process involves this— several of the études were born of a little obsession with a discovery of a harmonic turn or color I felt was compelling. In the case of this one it was the shifting harmonies below a repeated D, which first undulates between C major and A major. I loved the way the context of the one note took on so much meaning from this shift and composed the rest of the étude around that approach.
I found “Come Down, Angel” (another favorite) to be an achingly beautiful blend of hope, loss, and poignancy. What can you tell me about the way the music moves between reaching outward and returning inward?
I love contrary motion and counterpoint. The main challenge of this piece was to tell a complete melodic and harmonic story with primarily only two voices (left hand, right hand). I love the idea of morphing an idea through a few key centers—which helped keep it interesting. It starts in C minor, eventually modulating to D minor and finally ends on D major. The idea of these changes is that they happen in a very subtle way through this two voice motion.
I didn’t have titles for any of the études, and invited several people to my home in NYC for a few salons as I was getting ready to perform them in public. I felt this title was a perfect description of reaching and descending in the harmony.
I often enjoy rather large intervals in melodies—they tend to present a “question” for the listener—and in the case of this one large skips upwards are answered by a slow descent, like breathing, or reaching perhaps.
Will you be offering sheet music for the music featured on New York Études? If so, where might we purchase it?
Yes, we are in the final stages of proofreading as I write this, and ECS Publishing will be releasing them soon.This is really important as I want for people to enjoy performing and learning them for themselves. I dedicated #4 “I’m With You (for Rosemary)” to my mom. She is 90 and in assisted living in northern CA. In encouraging her to keep playing piano I sent her this étude to learn.
What current or future projects are you most excited about?
I’ve just finished a violin concerto which was premiered by Leonard Slatkin, The St. Loius Symphony and a wonderful soloist, Kelly Hall-Tompkins. I also have a lovely film score coming out later in the year, Can You Hear Me?
I’ve just finished a new symphonic score for Fritz Lang’s Metropolis and look forward to sharing more about the premiere of this soon. I’ll also be conducting it, which is something I’m loving doing.
I’m presenting a concert of my score to The Cabinet of Dr. Caligari at Carnegie Hall on June 3.
And lastly, I loved composing the études, and plan to start working on another set soon. I have a few performances scheduled in the next month and hope to give more live performances of these pieces in the coming years.
It’s no coincidence that Jeff Beal’s music began to garner notice with the acclaimed film POLLOCK (2000). Beal composes, orchestrates, conducts, mixes and often performs on his own scores – no other artist’s brush strokes touch his canvas. An accomplished and recorded jazz musician, Beal uses his improvisational skills to read the emotional tone of a scene. “This process allows me to envision a world where anything can happen.”
A five-time EMMY® winner, Beal’s improvisatory method, sense of timing and sophistication have made him a favorite of directors including Ed Harris (POLLOCK and APPALOOSA), David Fincher (HOUSE OF CARDS), Oliver Stone (JFK REVISITED, THE PUTIN INTERVIEWS), and Lauren Greenfeld (THE QUEEN OF VERSAILLES, GENERATION WEALTH.) Documentarians also appreciate this flexibility, and he has scored many, including BLACKFISH, THE PRICE OF EVERYTHING, WEINER, Al Gore’s AN INCONVENIENT SEQUEL, THE BLEEDING EDGE and BOSTON. His dramatic scoring credits include HBO’s ROME, CARNIVÀLE, THE NEWSROOM, USA’s MONK and Netflix HOUSE OF CARDS. His recent film projects include the documentary THE BIGGEST LITTLE FARM & BREAKING NEWS IN YUBA COUNTY.
Beal has continued to compose concert music throughout his film career. His recent commissioned works include “The Paper-Lined Shack” for Leonard Slatkin, the St. Louis Symphony Orchestra and soprano Hila Plitmann, “Sunrise” (a contemporary score for F.W. Munrau’s silent film) for Grant Gershon and The Los Angeles Master Chorale, “Moss #5” for Jaqueline Bulgasi Dance, and “The Great Circle” for The New West Symphony.
Recent premieres including his Flute Concerto for Sharon Bezaly and the Minnesota Symphony Orchestra, “The Fire Brand and The First Lady” for the Brooklyn Youth Chorus at BAM, “Beneath Thin Blanket” for Cantus, and Oregon Ballet Theatre’s “Terra”, choreographed by Helen Pickett.
Other recent commissions include the ballet “Oasis” for Smuin Ballet, works for the Metropole Orchestra, Ying String Quartet, World Science Festival, and a concerto for Grammy-winning guitarist Jason Vieaux. His choral commission, “The Salvage Men”, written for the Los Angeles Master Chorale and Eric Whitaker Singers, has also been performed by Chicago’s Apollo Chorus. His concerti and symphonic works have been performed by many leading orchestras and conductors, including St. Louis (Marin Alsop), Pacific (Carl St. Clair), Frankfurt, Munich, Berkeley (Kent Nagano) and Detroit (Neeme Jaarvi.)
Beal’s performing, conducting, and composing worlds converged in 2016 when he led the National Symphony Orchestra at the Kennedy Center in the premiere of HOUSE OF CARDS in CONCERT, with further performances in Miami, Denmark, The Netherlands and Jerusalem. This symphonic work was recorded by BIS Records on the double SACD “House of Cards Symphony”, which includes Beal’s flute and guitar concerti.
Beal has since conducted The Los Angeles Chamber Orchestra in his original score for Keaton’s silent film THE GENERAL, The Hollywood Chamber Orchestra for the premiere of BLACKFISH live-to-picture, The Henry Mancini Institute orchestra with his score for Stephen King’s BATTLEGROUND, and the Boston Symphony Orchestra for the film score of BOSTON, as well as the Boston Pops Esplanade for the live-to-picture premiere of BOSTON.
Diagnosed with Multiple Sclerosis in 2007, Beal credits his current remission to listening and creating music, as well as healthful nutrition, cardiovascular exercise and meditation. He has been open discussing his MS, and has spoken of it publicly and to the press, as he hopes to inspire others living with this chronic and incurable condition.
Born in 1963 and raised in the San Francisco Bay Area, Beal’s grandmother was a pianist and accompanist for silent movies. An avid jazz fan, she gave him Miles Davis’/Gil Evans’ Sketches of Spain album when he was beginning his trumpet studies. In addition to studying both classical and jazz trumpet, Jeff was a self-taught pianist and spent countless hours in the library learning music theory and composition on his own. Encouraged by conductor Kent Nagano, Jeff composed a trumpet concerto at age 17, which he performed with the Oakland Youth Symphony, as well as a number of large ensemble jazz charts that are still in publication today.
It would be across the country at the Eastman School of Music that Jeff would discover both his musical voice, as a student of Christopher Rouse and Rayburn Wright, and the love of his life, soprano Joan Sapiro Beal, who frequently performs his music. In 2015, the couple donated funds for the creation of The Beal Institute for Film Music and Contemporary Media at Eastman. The Beals have also donated to fund the collaborative Music and Medicine initiative at the University of Rochester, having experienced the impact of music on health in their own lives.
After graduation from Eastman in 1985, the Beals moved to New York City, where Jeff was signed by Island Records, releasing several jazz albums and performing with his band at The Blue Note and The Montreux Jazz Festival. In 1988, Beal was commissioned to write his first film score, the black comedy CHEAP SHOTS. After relocating to the west coast, Jeff turned his focus towards writing music for visual media – initially taking smaller jobs writing industrials for then startups Pixar and Apple. The recommendation of another trumpet player, composer Mark Isham, landed him the job writing original score for the TV series NOTHING SACRED (1997-98). International recognition would come only a few short years later, with the release of the film POLLOCK, earning Jeff a nomination for “Discovery of the Year” by the World Soundtrack Academy, who also honored Beal with their first “TV Composer Of The Year” award in 2019