Steve Sachse is about to premiere his piano quintet ‘Joy, Gifts, Sleeplessness’ at this week’s Pendulum concert, performed in part by one of CU’s most ambitious ensembles, the Tesla string quartet. I sat down with him to ask how his preparation for the concert has been going. Without even needing a prompt, he finishes with a great plug for Pendulum, an excellent reason to come show your support at this month’s concert!
Nathan: Where were you when you wrote this piece, physically and mentally?
S: After completing my undergraduate degree I stayed in my local area where I was very fortunate to be able to make a living through gigging and teaching guitar. But eventually the desire to return to composition studies really became something bigger that I had to address. The decision to leave the privileged situation I felt that I had found myself in and move to another state was a very difficult one to make. I had discovered a number of pieces during that time that really floored me, and the inspiration they stirred up was an overwhelming factor in the decision I wrestled with for some time. Each of the words in the title of my piece refers to things I was reflecting on concerning where my path in music had led me to that point, and the difficulty I had in making the decision to leave my home state and surroundings behind.
N: Did you have any musical role models in mind while writing? What was on your playlist?
S: I was certainly inspired by a number of quintet pieces during that period. In particular, I had also discovered a number of foreign composers who I really felt were able to display their cultural identities through their art in very organic and interesting ways. Composers such as John Psathas, Gareth Farr, and Jack Body were frequently part of my daily studies and musical experience, along with Chen Yi, Zhou Long, Karen Tanaka, and a few others.
N: How do you go about rehearsing your piece?
S: So far I’ve had two rehearsals for the piece, and the group’s progress has been steady. I would say that the piano part is by far the most technically demanding. Usually during the first rehearsals for any piece, I try to avoid nitpicking things and focus on whether the broader gestures are taking shape, as well as addressing any questions or potential issues the performers may have concerning the notation. After a couple of rehearsals, and as the players become more familiar with the music, I can talk more directly about expression and intention. It has been a fantastic opportunity to work with a group such as the Tesla quartet, and to be involved in the incredibly dynamic and supportive composition program here at CU.
Nathan: Where were you when you wrote this piece, physically and mentally?
S: After completing my undergraduate degree I stayed in my local area where I was very fortunate to be able to make a living through gigging and teaching guitar. But eventually the desire to return to composition studies really became something bigger that I had to address. The decision to leave the privileged situation I felt that I had found myself in and move to another state was a very difficult one to make. I had discovered a number of pieces during that time that really floored me, and the inspiration they stirred up was an overwhelming factor in the decision I wrestled with for some time. Each of the words in the title of my piece refers to things I was reflecting on concerning where my path in music had led me to that point, and the difficulty I had in making the decision to leave my home state and surroundings behind.
N: Did you have any musical role models in mind while writing? What was on your playlist?
S: I was certainly inspired by a number of quintet pieces during that period. In particular, I had also discovered a number of foreign composers who I really felt were able to display their cultural identities through their art in very organic and interesting ways. Composers such as John Psathas, Gareth Farr, and Jack Body were frequently part of my daily studies and musical experience, along with Chen Yi, Zhou Long, Karen Tanaka, and a few others.
N: How do you go about rehearsing your piece?
S: So far I’ve had two rehearsals for the piece, and the group’s progress has been steady. I would say that the piano part is by far the most technically demanding. Usually during the first rehearsals for any piece, I try to avoid nitpicking things and focus on whether the broader gestures are taking shape, as well as addressing any questions or potential issues the performers may have concerning the notation. After a couple of rehearsals, and as the players become more familiar with the music, I can talk more directly about expression and intention. It has been a fantastic opportunity to work with a group such as the Tesla quartet, and to be involved in the incredibly dynamic and supportive composition program here at CU.
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