Composers Eating Kettle Corn – Scott Wollschleger

Composers Eating Kettle Corn - Scott Wollschleger

so I'm here today with Scott Walsh legarre Scott thank you so much for having us over yeah thank you so the question we always like to start out with is how do you take your popcorn I like salt and butter that's pretty pretty basic classic combination part of the idea of kettle corn new music is sharing music in a bit more of an informal environment than some concerts so one of the questions I'm always curious to talk about with composers is what is an experience you've had with music outside of a sort of formal context that's been particularly meaningful to you most meaningful musical experiences don't happen for me in concert halls I would happen when I'm in the car or when I'm passing by a radio on the street or hearing a moment I I mean I my concept of music enjoyment is based in fragments like I hear a little blip here and there there's I don't the continuity of the concert experience doesn't lend itself to pleasure for me unless it's I'm in the mood for it or it's like an amazing piece you know what you're going to remember about a piece is a fragment you're not going to remember 40 minutes of time you'll remember a certain moment sticking out so in your day to day life when you do choose to listen to music what when does that happen I rarely listen to music for like a pleasure if something's emotionally resonating with me I'll keep playing it over and over again until I get sick of it and so I will just put a certain track on for repeat and you know do a little stretch to it and yeah or I play piano and I play Bach almost every day as I sort of eat your Wheaties we were mentioning before that you often don't write pieces in order right maybe you could speak about that for a second perhaps related I go backwards when I write so I start and then I say well what was before that like how do we get there and I think it ends up being that where I think a piece starts I end up kind of moving out in two directions from the starting point but I also was saying earlier that even though I start what ends up being the middle I at the end of the piece is when I actually will do the most arranging of where the sections go because then it gives a new life for me and I just opposed things that necessarily didn't seem to have relationship and then to see if something maybe more powerful emerges when I move it out of order and I think actually not having a sacred plan for the when things happen I think gives them for me it gives a piece more energy I think there's an organic consistency in what I'm doing anyhow that it seems like oh there's this is coming out of one person's mind even though for me when I'm doing it it is rummaging through hundreds of little pieces of information but yeah I just I'm not a continuity person so a lot of your pieces have the word Bronto in their title could you tell me what this word means and why you're so interested I'm thinking wasn't it Jackson Pollock who was afraid to be on camera because it would take his soul I wasn't that I fear he had I'm afraid if I tell you what Bronto means that this is gonna zap it into the cameras forever Bronto it's a it's an imaginary concept I think originally it had to do with Dinosaurs particularly brontosaurus and originally it was about that the Brawn to lure the brontosaurus nature of anything and then it sort of morphed into a perspective that looks at the odd proportions or something that was unusual or obnoxious or ridiculous and I think for me more recently the nature of Bronto has taken on an urban quality and I think cities have a sort of ridiculous quality to them just the juxtaposition of rich and poor and clean and and speeds and people running people people dying on the street and there's something to me about or urbanity itself which is quite Bronto so I think bran till now is an attitude yeah and when music is burnt oh what what is really exciting about that for you I think specifically in my music if something's Bronto it has the the construction of the material is usually based on a high or low note going to a high note as the as the kind of what I call the the motion of sound and so when I do bronto's when that shows up it's usually reflecting the material I'm using which I think has a simplicity that I think relates them back to the dinosaur notion it's like the song of the brontosaurus but of course it's abstracted so the the piece that we have on our concert bronto symmetry can you talk about that piece that piece also has the same construction of a low not going to a high note and that piece actually is to me it's a repetition of the same thing two different scales that it's as if you're listening to something and then it like you zoom in and it's fast and you zoom back out and then you really zoom out and you zoom back in and so I think that piece is about the same thing happening over and over again but the listening is either getting close or zooming out to what's going on and brought to symmetry for me that's a concept was the piece actually has quite a bit of pattern in the the metric patterns that are happening throughout the piece and there's symmetry within these sections but as taken as a whole the symmetry sort of lost and I think what I like the most about bronto symmetry and it's actually the direction of POD keep working with is that it's very episodic in in the different sections and I almost equated it to like a comic book or something or each section is like a frame well we're really looking forward to it cool and thank you so much for having us here thank you

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