Gustav Hoyer, Composer

I approach composition as a painter would a portrait...with my canvas being the mind of the listener. But unlike a painting which the viewer can take in entirely at a glance, listening to music is an experience that unfolds over time: A theme or motif is heard and then yields to another that follows, and only when every note – every pixel of the musical canvas – has been heard, has the listener truly shared the full experience of the composer. For each composition, my aim is to take captive the listener’s imagination and sweep him or her into a musical journey of sound and memory, whether one of romance, laughter, suspense, grief, terror, or relief.

My Piano Concerto(*) – inspired and in some ways modeled after Tchaikovsky’s Fifth Symphony – is very much like a cinematic experience, with the repeated recurrence of a dark, contentious theme that struggles and battles with other, more uplifting and valiant melodies for prominence and victory. ·
(*) Performed by the Amherst Chamber Orchestra and Pueblo Symphony.

My musical fantasy The Lion Triumphant(*), composed for full orchestra, is based on C.S. Lewis' The Lion, the Witch, and the Wardrobe. The opening theme evokes the perpetual snowfall and evil tyranny of the White Witch. From this emerges a new theme invoking the innocence of the protagonists, the four children. The escalating dramatic conflict between these two themes parallels that of the Witch and the children, and intensifies until at last the valiant lion Aslan conquers the White Witch in triumphant victory. (*) Recorded for ERM Media's Masterworks of the New Era, Volume 2; JPF Awards winner for Best Classical Album of 2006

Another composition, MacBeth(*), is based on Shakespeare’s timeless tragedy. Composed not for full orchestra but intimate string quartet, my inspiration for this picturesque fantasy was not only the genius of the Bard, but also the profound, intensely personal expression of late Beethoven. The piece opens with music evoking the swirling of the witches' cauldron as they prophesy of the ultimate fate of Macbeth, and dramatically expands and develops along with the characters until at the end, MacBeth’s meets his tragic fate.
(*) Released on From Darkness Into Light, 2007 ·

My score for the feature Grey Focus tracks the story of an immigrant to America whose troubled past catches up with him. Each principal character is musically represented by a distinct theme that evokes his or her deepest longing. The interplay of these themes – sometimes harmonious, sometimes clashing – reflects the tensions within the relationship arcs of the story. All the while, on the larger scale, the music is suffused with a sense of inevitability – the unstoppable motion towards an inescapable conclusion. For me, music is a universe of wordless storytelling, and just as every one of us is spellbound by our physical universe, so is it my aim on every project to captivate the listener and usher him or her into a new, unforgettable musical journey.


		I approach composition as a painter would a portrait...with my canvas being the mind of the listener. But unlike a painting which the viewer can take in entirely at a glance, listening to music is an experience that unfolds over time: A theme or motif is heard and then yields to another that follows, and only when every note – every pixel of the musical canvas – has been heard, has the listener truly shared the full experience of the composer. For each composition, my aim is to take captive the listener’s imagination and sweep him or her into a musical journey of sound and memory, whether one of romance, laughter, suspense, grief, terror, or relief. My Piano Concerto() – inspired and in some ways modeled after Tchaikovsky’s Fifth Symphony – is very much like a cinematic experience, with the repeated recurrence of a dark, contentious theme that struggles and battles with other, more uplifting and valiant melodies for prominence and victory. · () Performed by the Amherst Chamber Orchestra and Pueblo Symphony. My musical fantasy The Lion Triumphant(), composed for full orchestra, is based on C.S. Lewis' The Lion, the Witch, and the Wardrobe. The opening theme evokes the perpetual snowfall and evil tyranny of the White Witch. From this emerges a new theme invoking the innocence of the protagonists, the four children. The escalating dramatic conflict between these two themes parallels that of the Witch and the children, and intensifies until at last the valiant lion Aslan conquers the White Witch in triumphant victory. () Recorded for ERM Media's Masterworks of the New Era, Volume 2; JPF Awards winner for Best Classical Album of 2006 Another composition, MacBeth(), is based on Shakespeare’s timeless tragedy. Composed not for full orchestra but intimate string quartet, my inspiration for this picturesque fantasy was not only the genius of the Bard, but also the profound, intensely personal expression of late Beethoven. The piece opens with music evoking the swirling of the witches' cauldron as they prophesy of the ultimate fate of Macbeth, and dramatically expands and develops along with the characters until at the end, MacBeth’s meets his tragic fate. () Released on From Darkness Into Light, 2007 · My score for the feature Grey Focus tracks the story of an immigrant to America whose troubled past catches up with him. Each principal character is musically represented by a distinct theme that evokes his or her deepest longing. The interplay of these themes – sometimes harmonious, sometimes clashing – reflects the tensions within the relationship arcs of the story. All the while, on the larger scale, the music is suffused with a sense of inevitability – the unstoppable motion towards an inescapable conclusion. For me, music is a universe of wordless storytelling, and just as every one of us is spellbound by our physical universe, so is it my aim on every project to captivate the listener and usher him or her into a new, unforgettable musical journey.




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