Interview with Isaac Lovdahl

Cantus tenor Paul John Rudoi sat down with the 2024 Young & Emerging Composer Competition winner Isaac Lovdahl to hear more about Isaac’s history as a musician and composer, his influences for this and other works, and the impact of his winning piece “when I was just a boy.”

Paul: Many composers take different paths to finding their voice—some are drawn to composing early, while others stumble into it through performance or other musical avenues. How did your journey begin? Were you always drawn to writing music, or did it come later in your musical development? Can you recall a particular moment when you realized that composition was something you wanted to pursue seriously?

Isaac: I began studying guitar at nine years old, and for most of my adolescence, it remained my primary musical outlet and passion. Then, when my buddies and I started a progressive metal band in high school, I took it upon myself to write most of our songs – and fell in love with the creative process, the act of making something out of nothing.

During my undergraduate years at Concordia College, I was able to witness firsthand the work of legendary conductor-composer René Clausen. He inspired me to try my hand at writing choral music, and it has been my great musical love ever since.

As a young educator, I began writing music for my school and church choirs, and a few early successes snowballed into further awards and commissions. Over the past decade, I’ve had the privilege of writing for such ensembles as the Yale Glee Club, The Singers – Minnesota Choral Artists, and the Young New Yorkers’ Chorus, among others. I also continue to write for my own ensembles and relish the opportunity to rehearse my own pieces with brilliant young artists.

Paul: Many composers work with pre-existing poetry or collaborate with lyricists, but writing both the text and the music is a deeply personal undertaking. What led you to write the words for this piece yourself rather than setting someone else’s poetry? Did the music come to you as you were writing the text, or did the words stand alone for a while before you considered setting them? Given the deeply personal nature of the subject matter, did revisiting those emotions make the process more difficult, or did it provide clarity as the piece took shape?

Isaac: I have always been a lover of words and poetry. I begin each day by reading a poem, and when I was a young man, I wrote a fair amount of my own. The text for this piece began as a cathartic exercise, as a therapist encouraged me to put into words my experience growing up without a father figure, as well as my hope to be a better and more resilient man. 

I sat with the text for several months before deciding to set it to music, without any intention of it ever being performed or even seen by the public. The first half of the text details the events of my father leaving our family and poses questions such as, “How will I be okay? Who will support me?” To reflect the confusion I experienced at the time, I wanted the music to be disjunct, rather than harmonically settled in any one place. Transitioning into the second half of the text, the message is more hopeful. It discusses my decision to become my own refuge, my own teacher, and most importantly, the man I needed when I was just a boy. Not only is there a surge in rhythmic activity at this point, but also a greater sense of unity within the ensemble.

In some ways, it was very challenging to revisit emotions that had lay dormant for many years, but it was simultaneously very healing and empowering – being able to say, without question, that I am going to be a better man not only for my future children but for the young people I teach. I have the opportunity every day to be a mentor and a support system for students, including young men like myself who may not get that support elsewhere, because unfortunately my experience is not a unique one.

Paul: Composers often write pieces that are deeply personal but don’t always share them publicly, let alone submit them for competitions. What made you feel this was the right moment to bring this work into the world? Was it a matter of artistic readiness, or did something about this particular competition resonate with you?

Isaac: The timing was serendipitous. I saw the posting for this competition shortly after I’d revisited the poem and set it to music. I submitted the piece not thinking I would have any chance at winning. I thought that this piece would be particularly impactful if set for a tenor-bass ensemble, seeing as the text is written from the perspective of a man discussing his experiences as a young boy navigating the world without the guidance of a present father figure. Naturally, this made Cantus a perfect fit.

On a more personal level, I am now in my early 30s and fatherhood is a real possibility, rather than some far-off dream. It has become more important than ever before for me to contend with – and make peace with – my experiences as a child. This piece represents a significant step in my healing journey, and while I feel some anxiety about having such intimate information about myself and my family made public, I believe it is the right time – both in my own life and in the current cultural atmosphere – to be open and vulnerable.

Paul: Choral music has a unique ability to connect with listeners on an emotional level, often in ways that transcend words. When you envisioned this piece being performed, who did you imagine hearing it? Is there a particular message or emotional response you hope to evoke in audiences?

Isaac: For anyone who has shared my experience, I want this piece to be empowering, comforting, healing, reassuring, and cathartic. I want to encourage those people to do what I say in the piece – be for the young folks in their life the adult that they needed when they were young.

I also very much hope that any fathers who encounter this piece are reminded of the importance of their presence in their children’s lives. Fatherhood is a privilege, and not one to be taken lightly. It is not just about the concrete, tangible requirements of raising a child; it is about the intangible things like offering emotional support, showing interest in their children’s passions, being there to answer questions and offer insight.

Paul: This piece is clearly close to your heart, so thank you for sharing it with us and with the world. Is there anything else you’d like to mention to all of us?

Isaac: I am so grateful to Cantus and the artists involved for bringing this piece to life and helping me shine light where there is so much darkness.