NYU | School of Professional Studies: The Academy of Lifelong Learning

Interview with Edmund Cionek

Composer, Musician, Instructor of Felix Mendelssohn: The Classical Romantic

Dr. Edmund Cionek is a composer known for his work in both the concert hall and the theater. He earned his DMA at the University of Michigan and also pursued advanced studies at the École Normale in Paris with Max Deutsch, a disciple of Arnold Schoenberg. Marks Music Company and EDITIONS Amsterdam publish his music which is performed frequently throughout the US. He recently served as National Music Composition Advisor for the College Music Society. At NYU SPS he has taught Mozart, Haydn, Beethoven, and many others.

Q: Can you tell us about your background? How did you get involved in this field?
A: I love teaching. I come from a long line of teachers and some of the best people I know are teachers. I chose music as my subject because I’ve always loved the sound of music in the air. When I was little, I had an older sister who played piano and I also learned to read and read music at the same time.

But teaching and academia are only one aspect. The world of music is so expansive, so I also compose arrangements. I do orchestrations, edit music, and write original music. I’m lucky to have my personal and professional passions combined.

I moved to New York after studying at the University of Michigan, and a year in Paris. And I never left.

Q: What kind of classroom environment do you create for your students?
A: One that’s open and adaptable. In terms of format, it’s part lecture, music class, and think tank. It’s a fun and creative environment. This upcoming class focuses on Felix Mendelssohn, or as I’d like to call him, the marvelous Mr. Mendelssohn.
While I’m teaching, there are important things, and then there are interesting things. I like to incorporate both.

That makes it interesting to people of all backgrounds. I also have a doctorate in music, so I can field many questions. I’m happy to talk with people outside of class, so I get started a half hour earlier because people want to talk about the material.

We learn about the experiences and challenges faced by some of the most influential and captivating musicians. Together, we analyze their works, play the music, and then discuss. I do that in a general way. I break the piece down, play the themes, or maybe cue up a video first before having the class try to identify the themes themselves. Sometimes, people are more comfortable discussing other art forms such as plays or films. We’re a safe place to start talking about classical composers. Music is a complex thing, and people are often surprised by how much structure there is. If you don’t have training, that can get confusing. So I keep those aspects at a level that’s fun for people who don’t have a musical background and for those who are more experienced.

There is a whole level of history and humanity that intersects with art. My courses are history, analysis, and enjoyment of music rolled into one. We put the piece in historical context and get to know the composer as a human being. Then we survey the music.

No training is necessary for the enjoyment of this class. That’s my disclaimer! We’re here to discuss and enjoy!

Q: How can this class help students at different stages of their life?
A: Proust said, “You should keep a little blue sky over your head at all times”, So I think whatever stage of life you’re at, you have to find something that makes you happy. And I believe classical music can make you happy.

Being a composer, myself, I listen to music very deeply. That’s made me more mindful of how I explain and discuss things in my everyday life. It’s increased my overall awareness.

People here enjoy music and there are very few, classes like this offered in the city. And NYU is great at supporting the artistic community.

Q: Out of all the classes you’ve taught, which has been your favorite?
A: The Intimate Beethoven is one of my favorites. We think of Beethoven and his 5th Symphony and 9th Symphony—huge, powerful, dynamic pieces—but sometimes forget that he wrote many small chamber pieces as well. So, that’s what we focused on: the string quartets, solo piano works, and other pieces that are more intimate in sound.

I designed it to go along with events in his life. A hallmark moment in his life was the looming disability. He knew he was going deaf in his late 20s, so he decided he would write the best music he could and adapt.

Q. Can you tell us a little bit more about the public event that you’re organizing for the Academy of Lifelong Learning?
A: My librettist, Maryanne Bertollo, and I recently wrote an opera called Returning: the Ordeal of Olive Oatman. Olive Oatman was a strong and interesting Mormon woman captured by Native Americans in the mid-19th century. She was held for a few years by two tribes. When she was brought back she had to readjust to mainstream society. But, it turned out that she liked living with the Native Americans better. As a woman, she had more opportunities in their community.

This event will be a presentation, with a singer and a pianist. Similar to my class format, we’ll explain the lyrics and see how it relates to her. She had to deal with a patriarchal society in her work life and all of her platonic and relationship relationships.
She survived so much and it’s a story worth telling.

Q. Apart from this class, what other projects are you working on that you are excited about?
A: Maryanne Bertollo and I have done two operas together over the last three years. We’re working on an oratorio called Mr. Flying Saucer. It’s about this pilot named, Kenneth Arnold, who claims to have seen flying disks near Mount Rainier. This instance is actually where we get the term flying saucer from.

He is trying to explain what he saw but the media gets ahold of it, and it made his life very difficult. It takes place in the 50s, so there will be some doo-wop. And the story is great material for an oratorio.