Winger drummer Rod Morgenstein recently defended his bandmate Kip Winger. He argued that the musician was unfairly criticized and deserves recognition for his classical music achievements, in comments shared on 101 WRIF.
Morgenstein discussed how Winger has successfully transitioned into classical music composition. He cited a prestigious invitation that demonstrates his artistic credibility.
“Two or three years ago, Kip was invited to Berlin, where it was the 100-year anniversary of ‘The Rite of Spring’ [by Igor Stravinsky],” Morgenstein said. “And the conductor said, ‘Kip, we know you’ve written a piece called ‘Conversations with Nijinsky.’ We’re playing your piece before ‘The Rite of Spring’, we’d love to have you fly over to Berlin to be the guest of honor.”
The drummer reflected on the contrast between past criticism and current recognition of Winger’s talents.
“So, this is Kip Winger, the guy that when I think back to like Beavis and Butthead making fun…Kip was chosen as the poster child of all things to make fun of the hair bands,” he continued. “The so-called hair band movement. He was so unfairly treated as like, a talentless hack. But he’s having the last laugh, because he’s probably the rock musician who has taken the jump into the classical world further than anybody.”
Morgenstein’s defense of his bandmate reflects a remarkable career transformation. This transformation has seen Winger evolve from rock frontman to Grammy-nominated classical composer, earning recognition in prestigious musical circles worldwide.
Winger’s classical achievements extend far beyond the Berlin performance mentioned by Morgenstein. Colorado Public Radio reported that his four-part suite “Conversations with Nijinsky” reached the top of Billboard’s traditional classical charts and earned him a Grammy nomination for Best Classical Contemporary Composition in 2017. The piece celebrates Vaslav Nijinsky, the choreographer of Stravinsky’s “Rite of Spring,” creating a meaningful connection to the classical work that preceded his Berlin performance.
The rock musician’s transition to classical composition began in earnest in 2003. Texas Public Radio noted that he started studying classical music composition seriously and began traveling from his Nashville home to New York for lessons with composer Richard Danielpour. This dedication to formal training demonstrates the commitment behind his classical success, contradicting the “talentless hack” image that Morgenstein referenced.
Winger’s first major orchestral achievement came with the ballet “Ghosts,” which premiered at the San Francisco Ballet on February 9, 2010. Northern California Public Media detailed that the piece was choreographed by Christopher Wheeldon and performed by the San Francisco Ballet Orchestra, with music director Martin West praising its sophistication and advocating for recordings after global performances. The success of “Ghosts” established Winger as a serious classical composer capable of creating works for major ballet companies.
San Francisco Ballet Orchestra music director Martin West noted Winger’s natural rhythmic abilities and his humility as a student. He positioned him as a notable figure in contemporary classical composition. Northern California Public Media revealed that Winger’s main interest has always been writing music rather than instrumental prowess, with classical hints appearing even in early Winger tracks like “Hungry,” which featured string quartet arrangements. This long-standing compositional focus helps explain his successful transition from the rock world to classical recognition, validating Morgenstein’s assertion that his bandmate is “having the last laugh” against his critics.
