Composer Scott Wollschleger (b. 1980) seems most interested in creating musical effects through a deliberately-chosen economy of means. He writes largely for chamber ensembles or soloist performers, and in fact Soft Aberration, the first album dedicated to his work alone, contains compositions for solo, duo, trio and quartet.
A couple of the titles of these works—Soft Aberration, Brontal Symmetry—are likely to call up associations with New York School composers, especially Morton Feldman. Wollschleger has acknowledged the New York School and Feldman as influences and exemplary figures; like Feldman, Wollschleger favors constructing pieces out of repeating fragments of pitches, timbres, or rhythmic figures. His method for building a full-scale work out of these basic elements generally consists of creating chains of semi-independent events or moments defined by a relatively simple pattern of pitch, color, or rhythmic relationships. One moment doesn’t necessarily implicate the next; Wollschleger’s stated aim in making continuous works from discontinuous, repeating events is to encourage the listener to reflect on the sounds’ different facets–as if they had been presented from different angles.
The long piece that opens the album, 2015’s Brontal Symmetry, was commissioned by the unorthodox piano trio Longleash, who perform it here; the work is an astutely-chosen opener, as it epitomizes some of the key aspects of Wollschleger’s aesthetic. The piece lays out its fundamental musical material from the start, as it begins with a staccato, deliberately square-rhythmed three-note motif on the piano. The motif is picked up on the strings, which reproduce its phrase profile more than its exact melody; the playing then dissolves into a simulacrum of chaos—of acoustic white noise carried on the frenzied bowing of the strings. This contrast of moods sets a larger, symmetrical pattern in which the piece alternates passages defined by the simple motif with chaotic or quiet passages.
The white noise of the strings’ unpitched moments in Brontal Symmetry is developed further in —and alluded to in the title of–White Wall (2013) for string quartet. Played with the requisite subtlety by the Mivos Quartet, White Wall’s softly bowed, muted strings and whistling harmonics—broken on occasion by plucked or bowed stabs–largely exist in an audio environment notable for its low dynamics and dispersed texture. White Wall is a piece of extraordinary sonic delicacy that serves as the understated focus of the album.
The album’s other compositions—the title track, for piano and viola; America, for solo cello; and Bring Something Incomprehensible into This World, for the unusual duo of soprano and trumpet—give more evidence of a composer who can extract the expressive maximum from minimal musical means.