Sebastian Currier, composer

Last Tuesday at the Symphony, I had the privilege of attending a Q&A with composer Sebastian Currier, whose new composition commemorating the 100th anniversary of the beginning of World War I, 'Divisions', will be having its world premiere with the Seattle Symphony this evening at Benaroya Hall.

Currier, who was raised in Providence, RI and graduated with a DMA from the Julliard School of Music, composes primarily for ensembles and orchestra.  In his young-adulthood, he self-reportedly haunted the convenience store for new records until they began collecting new releases specifically for him.  He began listening to rock music with his brother, composer Nathan Currier, and gradually fell in love with the LPs of orchestral music that his father enjoyed, as the music had infinite possibilities of 'travel'.

His personality is very funny and down-to-earth; as he and SSO associate conductor Stilian Kirov took their seats for the Q&A, they engaged in quick-fire banter which made it somewhat unclear exactly who was supposed to be asking the questions.

What is 'Divisions'?  According to Currier, it represents a large variety of topics related to the WWI theme.  In addition to the battalion divisions in the war and the obvious divisions between nations, it also represents a music form from the 16th century known as 'divisions' in which the music begins slowly and divides and subdivides into smaller and smaller divisions of the beat; a classic example of this is J.S. Bach's 'Passacaglia'.  However, Currier takes this idea in reverse; his ideas start very fragmented and become more cohesive as the piece progresses.

There is much dialogue and instrumental depth in his works.  'Microsynth', which, as its name implies, is a miniature symphony, utilizes vibrant, spinning sounds, voices quickly passing with highlights in all sections, not simply strings or winds.  Many characters share a dialogue that, unlike Ives, do not seek to compete with each other, merely banter, like his introduction with Kirov.  Everything gets its chance to speak, and rather than being interrupted, the thought is taken over without pause and passed around.

Perhaps the most useful word I can think of to describe the effect his music has on me is 'collective'.  There is much melodic and harmonic richness, but to set his voice apart from the Romantics, he utilizes a faster pace of exchange.  The notes, the idea, the theme itself is cohesive, regardless of who or what is playing it.  With no overlap, they flit from timbre to timbre and yet remain pure.  This is a strong departure from the Romantic norm, in which melodies typically conclude with the instrument they began with, and then another instrument picks up the idea and answers back.

Favorite pieces that I have heard so far include:

Verge for Clarinet, Violin and Piano
Time Machines (dedicated to Anne-Sophie Mutter)
Next Atlantis (utilizing conversation between electronic effects and the symphony)

I'd recommend Currier's compositions for people who value complexity and have a moderate to advanced understanding of orchestral music.  The sound can be nearly overwhelming at times, but this effect is enhanced by a knowledge of instruments and their relationship to the score.

Visit Sebastian Currier's website