Digesting the 20th century

The effect of a piece doesn't merely depend on the performance of the musicians, but also on the place it is performed at. How do you see the relationship between location and sound? In how far do you feel the current system of concert halls is still the right one for your music – or for contemporary music in general?

A lot of  concerts and festivals are now being curated around the idea of having different types of music played side by side. You find bands playing in concert halls and classical music played in venues usually reserved for other genres. The effect can sometimes be jarring, but on the whole it’s a gain for musicians and audiences. Pieces of mine have been played in a variety of venues. I’m not really too concerned with location.

The role of the composer has always been subject to change. What's your view on the (e.g. political/social/creative) tasks of composers today and how do you try to meet these goals in your work?

Composers of my generation are taking influences that have been swirling around them their entire lives and bringing them together in a way that is meaningful to them. I think we’re going through a period in history where composers are digesting all the incredible strides that were made during the 20th century and turning them into something that makes more sense on an intuitive level.

How, do you feel, could contemporary compositions reach the attention of a wider audience?

Contemporary art hardly ever reaches a very wide audience, whether it’s film, visual arts or music. There are always a few artists who are able to cross over into a mainstream consciousness but they are the exception rather than the rule. The important thing is to create a culture in which art as a whole is valued not just as entertainment but as an important and exciting function of society. That would mean that mainstream media would have to start covering art openings and contemporary music concerts. I would like to see Fox News debate the merits of a new commission.

Music-sharing sites and -blogs as well as a flood of releases in general are presenting both listeners and artists with challenging questions. What's your view on the value of music today? In what way does the abundance of music change our perception of it?

The challenge is of course to revalue music. Economics are driving the perception of music as something that shouldn’t be compensated, while people’s attention span are also getting a lot shorter. As soon as an album comes out we’re ready for the next one. Fortunately in contemporary classical music there’s an appreciation for letting an artist develop and there are far fewer albums being made than in other genres.

Composers have traditionally found it hard to secure a living with their art. What are the financial realities you're living with and in which way, do you feel, could they be improved?

I think that the financial realities of being a composer would be improved if larger institutions took more chances on young composers. The music is relevant and a lot of it is just plain good – personally many of my favourite composers are under 40.

Usually, it is considered that it is the job of the composer to win over an audience. But listening is also an active, rather than just a passive process. How do you see the role of the listener in the musical communication process?

I try and curate a musical experience for the listener but I ask that they give themselves some time to get into it. The audience member has to meet the composer half-way in order to appreciate a viewpoint that is different than their own.

Please recommend two artists to our readers which you feel deserve their attention.

These days I’ve been listening to John Maus and Heiner Goebbels

Visit Daniel's website at www.danielwohlmusic.com