Multifaceted songwriter, performer, producer and native New Yorker, Randy Klein, has been mentoring emerging songwriters at SongU.com since 2006 when co-creator, Danny Arena, randomly spotted Randy’s name online for winning a prize for one of his jazz compositions. At the time, we were looking for some additional genre-diversity within our coaching faculty, and once we read his extensive bio, we had a gut feeling that Randy could bring exactly what we needed to the table. As it turns out, Randy did have a “flair for feedback” and has since become a well-respected staple of our song feedback and coaching staff.
Adding to his award-winning credits from Emmys to gold records to fellowships and commissions with projects including jazz, musical theatre, soul/R&B, documentary film scores, and PBS children’s TV shows, he now has a World Premiere to look forward to. His composition “Fanfare For Jerusalem” will be performed in New York City by the 400 voice Hazamir Chorale at the Metropolitan Opera House, Lincoln Center on March 26, 2017.
I asked Randy to answer a few questions about songwriting and what this newest commission means to him.
When did your music career begin and what were your goals when you first began?
I’m not sure when my music career began because I have never done anything else but music. There are pictures of me as a toddler reaching up to the piano to play. And, as far as goals are concerned, I only wanted to be a good piano player. Songwriting didn’t come into the picture until way later when I was in my late twenties.
What are the most important lessons you learned about the music business since starting out?
To be nice to everyone. Admit when you are wrong. Remember that it ain’t a gig until the check clears!
You have a very exciting project called “Fanfare to Jerusalem” that will be a worldwide debut performed at Lincoln Center in New York City. How did you get this commission?
The commission for “Fanfare For Jerusalem” came to me because of my relationship to Matthew and 
Vivian Lazar, the founder and director of the HaZamir Chorale. They are my neighbors and live in my apartment building in NYC. They knew I was a composer and invited me to hear the chorale a year ago at a performance at Carnegie Hall. It was excellent, the sound of 400 voices blew my socks off, and the concert was of a very high musical aesthetic. I ran into Matthew and Vivian in the lobby of our apartment house the next day and told them how much I enjoyed the concert and mentioned that I would love to write for the chorale. They told me that the theme for the next year was to be the 50th anniversary of the unification of Jerusalem. I thought about this for a while and then pitched them the idea of composing a piece called Fanfare For Jerusalem. I wrote the main theme and proposed some original text in English. The text was not approved, but the concept and the main theme were. It was suggested that I look at the Psalms of David for text that related to Jerusalem. I did the research and found, using translations in English, four excerpts from the Psalms which I thought would work. These selections were approved.
Was it intimidating to write the lyrics in another language, especially one that doesn’t use the English alphabet?
The only drawback was that I did not speak Hebrew and the Psalms are in Hebrew. Matthew Lazar connected me with an associate who spoke the Psalms into a recorder in Hebrew, including a recording of each word sounded out phonetically. It was from this recording that I wrote Fanfare For Jerusalem.
How long did it take for you to complete it?
It took about 5 weeks of non-stop writing. I would study the pronunciation of a syllable, then a word, and then a phrase and I slowly put music to it. Hebrew is a language with some guttural sounding syllables that don’t sing very well, like ‘o-ha-va-yich’ and ‘b’-chei-leich’. The challenge was to set them and be musical. While, I was composing the music, I was also imagining the 400 voice chorale singing it. So, I was learning the sound of the words, composing and orchestrating for chorale at the same time. I presented the first draft in Matthew and Vivian’s apartment. I had them look at the printed score as I was playing and explaining the piece. The reaction was overwhelming. Vivian sensed that this was a very special piece and said it was going to be in this year’s concert at the Metropolitan Opera House. Matthew was already making musical suggestions to make it better. And, that they had decided to make the piece a commission. To say the least, I was overjoyed! Through Matthew’s suggestions about chorale writing and a series of about 11 rewrites, the piece was tightened up.
You almost make it sound easy, Randy. I’ve done more than 11 rewrites on a 3-minute Country song!
As a writer, I was thrilled because the original structure never changed and except for ‘one mis-stress’, I had set the text correctly. I was able to hear the language as it was spoken and paint it in a musical setting. The final piece is about 6 minutes long. The skill set I used to compose this piece was the same as I use to write songs in English. Listening to the way a lyric speaks, I used my songwriting ear to learn how the lyric in Hebrew spoke and set it to music. Lessons to learn… don’t ever be afraid to pitch a creative idea to someone…music is a universal language….develop your listening skills! And, the cool news is, my collaborator is King David!
Yes, that’s a great lesson: “Don’t ever be afraid to pitch a creative idea to someone.” So, what’s the best piece of general advice you can give up and coming songwriters?
This is easy. Write every day, even if you are not inspired. Take an article in the paper and write a song about it. Write a song about ketchup. Just keep your pencil sharp.
What’s on the creative horizen for you?
-A book on songwriting titled, “You Can Write A Song!” (Fall 2017)
-Musicals in various states of completion: The Black Swan, Jubilee, Pandamonium and Speak.
-A piano improvisation project: Ambient Spaces
-Teaching songwriting – ongoing!
Name three of your favorite non-music related activities.
-Sitting in the middle of Greenwood Lake, NY on my 1995 pontoon boat on a warm summer day.
-Freshly brewed coffee.
-Riding my bicycle.
For more information and to purchase tickets to the March 26th world premiere of “Fanfare for Jerusalem” go to:
http://www.metopera.org/Season/2016-17-Misc-Season/Hazamir/
March 15, 2017 at 11:00 am
Reblogged this on Screamie Birds Studios and commented:
Randy Klein was my first professional mentor and helped me take “Does Everybody Lie” from poem to my first song release as “Everybody Lies.” His compliments about my “good writing” meant a lot to me.