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
“…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
Interviews with Scott Wollschleger
NPR 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