An Interview with Soon Hee Newbold

Soon Hee Newbold is a Los Angeles-area composer, conductor, and performer who began her musical career mostly as a performer before discovering her voice as a composer. A graduate of James Madison University, she writes music that aims to touch people on an emotional and deeper level — and she only releases pieces she feels strongly about.

Q: How did you first discover your passion for composing?

I was fascinated early on by how people can write music so moving and intricate so it was a personal challenge at first. I started studying piano when I was 5 and Mozart was a huge inspiration because he was a brilliant child prodigy and a composer at that age. I figured if he could write amazing music at a young age, I should at least give it a go. 

Q: Who has shaped how you think about music?

All of my music teachers and every great composer. I was a Suzuki kid on violin at age 7 and had some of the best teachers who not only taught me technique and repertoire but also how to approach music when listening, performing, and interpreting it. As a result, music to me is a lifestyle and part of my own persona instead of a separate activity. My experiences in some of the orchestras, like Tanglewood and Aspen, were huge in exposing me to a great variety of classics that fostered my love for symphonic literature. 

Q: What was the first piece you wrote that made you think, "I might actually be onto something here"?

American Landscape.

Q: What's the hardest creative problem you've ever had to solve in your work, and how did you get through it?

I've had specific requests that would take a bit more creativity to make the piece work not only musically but also logistically. I'm not sure I had any ah-ha moments, but I just kept at it until I figured out something that worked.

Q: How has your compositional voice changed over the years? Is there anything you used to believe about writing music that you've since changed your mind on?

I wrote more pop songs when I first started, and I mainly write symphonic concert music currently. Thinking back, I believe my purpose and reason for composing have stayed the same but the type of music has changed slightly. 

Q: Do you have a favorite piece on Alfred.com? What was the spark behind it?

I don't have a favorite, probably many of the classics in the orchestra world and the Suzuki repertoire are nostalgic with some great memories. If the question is out of my own compositions, I definitely can't name a favorite but if i had to pick something to highlight, it would have to be the most recent release “Han’gul” which is a commissioned piece by the LA Phil under Dudamel for their YOLA orchestra and is inspired by so many aspects of my personal life, Los Angeles, and the Korean culture.

Q: If there were a soundtrack for your own life right now, what piece would it be?

Tchaikovsky Violin Concerto.

Q: Where are you based, and how does your environment influence your work?

The Los Angeles area can be distracting but also exciting because there is always something going on. As an artist, it can be a great resource for ideas and experiences, but it can also be overwhelming and noisy because of the constant bustling of a big city. 

Q: How do you spend most of your working hours?

A mix of all of the above and then some. This question can be one of the hardest to answer; it really depends on the day. I travel a lot for guest conducting and composer appearances, spend time at home writing a new composition, or do quite a bit of work for the city as a way of giving back to the community.

Q: Where did you study, and how much of what you do today traces back to your formal training versus what you figured out on your own?

I studied with many great teachers, mostly on the East Coast but all around the country. I got my degree from James Madison University, and two professors in particular had a great impact on how I approach work and the music industry even today.

Q: Did you grow up in a musical household, or did music find you some other way?

I did grow up in a musical household, although my parents were not musicians. Both of my sisters play string instruments (violin and cello), so we did many music camps and Suzuki institutes growing up. We performed frequently as a trio.

Q: How long have you been publishing with Alfred, and how did that relationship start?

I've been with Alfred just over 3 years and joined because Brian Balmages, one of my best friends and collaborators, is the head of MakeMusic Publications. We made an unofficial pact years ago that we’d always try to work together. 

Q: Outside of composing, is there another role in music that's been just as central to who you are?

I was exclusively a performer for a large part of my musical career. I was a member of professional orchestras in Maryland, Virginia, Florida, and California as a violinist and violist. 

Q: How has the music education publishing world changed since you started, and how has that shaped what you write?

Music education has changed in the string orchestra world, in particular with more engaging and fun/interesting music options than there were before. I wanted to make sure strings got a chance to play some meaty pieces, too, even though they lacked some of the other colors like percussion or brass.

Q: What's a type of piece or repertoire gap you think the industry still hasn't figured out yet?

Beginning level string orchestra is, I think, one of the most difficult to write for, so I believe it is the most challenging for publishers to find and fill in their catalogs. 

Q: What do you want your body of work to add up to?

I want my body of work to be a collection of great stories or music that resonates and touches people on an emotional and deeper level. 

Q: Is there a favorite piece of yours that may not be your most popular work but resonates really strongly with you?

I only try to release pieces that I feel emotionally connected to, so I don't really have a favorite I can name at the moment. I tend to throw out the ones that aren’t jumping out at me. 

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