Interviews with Scott Wollschleger
NPR (Richmond, VA) an informative interview covering the release of “Soft Aberration”.
NPR (Little Rock, AR) episode of Arts & Letters featuring an in-depth interview and live on-air performance.
Interview conducted by the pianist, Ivan Ilić in Facts and Arts.
Interview conducted by longleash piano trio.
Video interview conducted by Alex Weiser for Kettle Corn New Music
“Distinctive and magnetic…On the atlas of new music, Wollschleger lands somewhere in the borderland between Minimalia and Feldmanistan: obsessive repetitions of stripped-down materials bring to mind minimalism, while spells of hushed, cryptic beauty recall the great American modernist Morton Feldman. Yet Wollschleger has found a territory very much his own…It’s like a junk-metal mobile that achieves free-floating grace.” – Alex Ross, The New Yorker
“… an expressionistic landscape of pulsating, dissonant tone clusters (produced by chromatic pitch pipes), twinkling chimes and bells, and earthen sonorities that emanated from grinding cast iron and terra cotta. There was a stunning, almost hypnotic quality to Wollschleger’s work, that felt at times like a religious rite and at others like an exploration of horror movie tropes. At the work’s climactic peak, a nebula of droning textures emerge from the vibraphone, assisted by what appeared to be wind-up toys. It was in this moment that the piece transcended its own spooky narrative and seemed to conclude like a magic trick.”
Christian Kriegeskotte, I Care If You Listen
Meditation on Dust
“… a kaleidoscopic tapestry for piano… The ghost of Feldman could be heard in the spare, evocative gestures of the string accompaniment, which provided harmonically ambiguous, gently rumbling backdrops and emotive outbursts that rivaled the piano’s colorful declarations.”
Vivien Schweitzer, The New York Times
“Wollschleger’s skeleton of tonality is all that is left after almost 400,000 sunrises over Also sprach Zarathustra. Some of the most stunning moments of Meditation on Dust were achieved through the orchestration…Meditation on Dust easily stole the show that evening. I truly hope Wollschleger’s piece is performed again, as it was one of the most magical premieres I have experienced in a long time.”
Sam Reising, I Care If You Listen
“…String Quartet No. 2 is a wonderful composition. Written in two parts with a barely discernible separation, the piece is so intensely quiet that it demands the listener’s full concentration. For a long time there is no pitched music, just shimmering whispers from the strings, rising and falling like the breath of sleepers in the dark. This goes on for a time and is mesmerizing. Gradually, pitches appear and disappear briefly, with a bow stroke or a sharp pluck, like particles bubbling into reality out of the quantum haze of interstellar space. These notes never come together in standard configurations. Instead, energy flows around and through the music, finding moments of articulateness, then falling back into fascinating, diffident ratiocination. “White Wall” is an exemplary contemporary composition…”
George Grella, New York Classical Review
“White Wall is a piece of extraordinary sonic delicacy that serves as the understated focus of the album. The album’s other compositions…give more evidence of a composer who can extract the expressive maximum from minimal musical means.” – Avant Music News
“…Wollschleger seems to be getting at the essence of something fleeting, fugitive, intangible…a process of gentle yet concentrated incantation that strives to examine its material from every which angle…”
Matthew Mendez, Soundproofed Blog
“…a visceral and aggressive piano piece composed almost entirely of glissandos and cluster chords (cluster as in your whole forearm coming down on the keys). Watching Shevtsov almost made you think the piece is scored for an actor—his body language and intense expressions were as much a part of the music as the notes.”
Paul Kosidowski, Milwaukee Magazine
“…a grand sprawl of a piece…full of apocalyptic drones, ominous minor-key statements, jabbing semitone signals, and a shimmering close…”
Alex Ross, The New Yorker