As a performer and producer of this show, it is very exciting to preview the other pieces of work that you have been less involved in. During last week's viewing, I was struck by the collaboration between Mark Sampson, one of the choreographers, and Nathan Prillaman, composer and colleague. After the preview, I conducted an interview with Nathan to learn more about him and his process of making music for this production.
Name: Nathan Prillaman
Age: 24
Hometown: Potomac, Maryland
Education: Yale BA Music 2013, Juilliard MM Composition 2015
Website: www.nathanprillaman.com
Began writing/music:
I first started writing music in high school. I had been playing piano since I was a little kid, and got into writing through improvisation. I very quickly transitioned from just writing piano pieces to writing music for the jazz and rock groups I played in, writing songs, and experimenting with electronic music.
When we began plans: Mark approached me with the basic idea for an early version of the piece a number of months ago. I felt really great about the piece we created for ChoreoComp, so I immediately agreed to work with him again. This piece is definitely separate from Home Scene, but there are various aspects that run through both. For example, Mark's choreography for both pieces focuses on exploring and developing relationships between characters on the stage, and I try to create a sonic landscape for these interaction to inhabit and unfold within.
Artistic Relationship: Our artistic relationship is deeply collaborative. I try to be in the room during the creative process as much as possible, and the speed of iteration is fast. While Mark develops a phrase, I'll have either staff paper or my laptop and create music to try out. Our creations very much grow simultaneously, which is unusual, but very fulfilling.
Soundscape/ambient music: One of my most important goals as a composer is to write the correct piece of music for the situation at hand. For a concert stage, the parameters of that music could be anything, but for collaborative pieces like the Senior Production, I believe the music must interact with the situation at hand. For this piece, Mark and I both felt that a more ambient, soundscape-oriented sonic landscape was the right way to support what's happening on stage. Some of my earliest high school era basement recordings are ambient and experimental in nature, so it felt very natural for me to return to this aesthetic. Of course, I would have written something else if the overall work demanded it.
What inspires me: Perhaps weirdly for a musician, I've always been a very visually-oriented person. Motion, image, and color often inspire me, which is probably a strong reason why I gravitate towards collaborative projects. I'm fascinated by the ways that I can color those kinds of changes, while simultaneously imparting emotional content to a listener. I'm also inspired by stories of all kinds, and always thinking about how I can reflect, evoke or support a dramatic structure.
Creative process: My creative process varies enormously depending on the project. I find that I can work in a wide variety of environments, so I try to change things as often as possible. When I'm writing for a classical ensemble, often there isn't very much back and forth as the piece is being created. There may be a reading or two, but definitely not daily communication, so I'll often write a piece start-to-finish in relative seclusion. That can also be the case with some dance and theatrical projects, if the choreographer likes working from finished music. Other times, there's a lot of iteration of materials, which requires continuous communication, and a series of trial runs with music demos. I go with whatever makes the final product work and keeps my collaborators sane.
Opportunity to work so closely: I love being able to be at the rehearsals. I find that I'm able to gain a deeper insight into the ultimate goals of the piece, which gives me the perspective I need to create the right music. Working with Mark is always a pleasure, so even if it wasn't essential I would enjoy being at the rehearsals.
Influenced the choreography: The very first elements of the piece were choreography, so my initial musical instincts grew out of motion. However, as the piece grew musically, Mark fit and developed the motion to inhabit the sonic landscape. As the rehearsal process continued, all of the aspects morphed and fed off of one another.
Playfulness: The playfulness is definitely something that underlies our whole creative process for this piece,y as well as Home Scene. I think that the subject material was very well suited for this kind of thing. I'm very interested in having a breadth of expression in my music, and playfulness is something that is too often cut away for the sake of so-called art.
Darkness: My work is dark when the subject matter calls for it. Musicians often face the temptation to play into the stereotype of the moody, misunderstood composer-genius, which I try to avoid like the plague. I try to have a wide range of expression across all of my pieces, so much of my work is lighter, much is dark, and the rest falls across a spectrum.
Developed voice: I'm very much still developing as an artist, and every chance to collaborate with other people is very exciting. I think I learn the most from how other people take my work and build it into their own expression. With this piece, I focused on developing my skills at creating a musical environment for other artists to inhabit, which is a different skill than traditional classical composition.
Future Aspirations: I'm still discovering where I fit into the world of music, but I want to continue creating collaborative pieces. My goals are to continue integrating my classical, electronic and other musical backgrounds into these types of pieces, and see where that takes me.
Continuing to write for dance or theater: I plan to write as much music for dance, theater and film as I can, as long as anyone is willing to use it!
I am so excited to see this partnership in the upcoming production. Whether you are watching this piece change and come to life in stages, or witnessing it once live, you will surely be taken by the brilliance of these two!
Written by: Colin Fuller
Name: Nathan Prillaman
Age: 24
Hometown: Potomac, Maryland
Education: Yale BA Music 2013, Juilliard MM Composition 2015
Website: www.nathanprillaman.com
Began writing/music:
I first started writing music in high school. I had been playing piano since I was a little kid, and got into writing through improvisation. I very quickly transitioned from just writing piano pieces to writing music for the jazz and rock groups I played in, writing songs, and experimenting with electronic music.
When we began plans: Mark approached me with the basic idea for an early version of the piece a number of months ago. I felt really great about the piece we created for ChoreoComp, so I immediately agreed to work with him again. This piece is definitely separate from Home Scene, but there are various aspects that run through both. For example, Mark's choreography for both pieces focuses on exploring and developing relationships between characters on the stage, and I try to create a sonic landscape for these interaction to inhabit and unfold within.
Artistic Relationship: Our artistic relationship is deeply collaborative. I try to be in the room during the creative process as much as possible, and the speed of iteration is fast. While Mark develops a phrase, I'll have either staff paper or my laptop and create music to try out. Our creations very much grow simultaneously, which is unusual, but very fulfilling.
Soundscape/ambient music: One of my most important goals as a composer is to write the correct piece of music for the situation at hand. For a concert stage, the parameters of that music could be anything, but for collaborative pieces like the Senior Production, I believe the music must interact with the situation at hand. For this piece, Mark and I both felt that a more ambient, soundscape-oriented sonic landscape was the right way to support what's happening on stage. Some of my earliest high school era basement recordings are ambient and experimental in nature, so it felt very natural for me to return to this aesthetic. Of course, I would have written something else if the overall work demanded it.
What inspires me: Perhaps weirdly for a musician, I've always been a very visually-oriented person. Motion, image, and color often inspire me, which is probably a strong reason why I gravitate towards collaborative projects. I'm fascinated by the ways that I can color those kinds of changes, while simultaneously imparting emotional content to a listener. I'm also inspired by stories of all kinds, and always thinking about how I can reflect, evoke or support a dramatic structure.
Creative process: My creative process varies enormously depending on the project. I find that I can work in a wide variety of environments, so I try to change things as often as possible. When I'm writing for a classical ensemble, often there isn't very much back and forth as the piece is being created. There may be a reading or two, but definitely not daily communication, so I'll often write a piece start-to-finish in relative seclusion. That can also be the case with some dance and theatrical projects, if the choreographer likes working from finished music. Other times, there's a lot of iteration of materials, which requires continuous communication, and a series of trial runs with music demos. I go with whatever makes the final product work and keeps my collaborators sane.
Opportunity to work so closely: I love being able to be at the rehearsals. I find that I'm able to gain a deeper insight into the ultimate goals of the piece, which gives me the perspective I need to create the right music. Working with Mark is always a pleasure, so even if it wasn't essential I would enjoy being at the rehearsals.
Influenced the choreography: The very first elements of the piece were choreography, so my initial musical instincts grew out of motion. However, as the piece grew musically, Mark fit and developed the motion to inhabit the sonic landscape. As the rehearsal process continued, all of the aspects morphed and fed off of one another.
Playfulness: The playfulness is definitely something that underlies our whole creative process for this piece,y as well as Home Scene. I think that the subject material was very well suited for this kind of thing. I'm very interested in having a breadth of expression in my music, and playfulness is something that is too often cut away for the sake of so-called art.
Darkness: My work is dark when the subject matter calls for it. Musicians often face the temptation to play into the stereotype of the moody, misunderstood composer-genius, which I try to avoid like the plague. I try to have a wide range of expression across all of my pieces, so much of my work is lighter, much is dark, and the rest falls across a spectrum.
Developed voice: I'm very much still developing as an artist, and every chance to collaborate with other people is very exciting. I think I learn the most from how other people take my work and build it into their own expression. With this piece, I focused on developing my skills at creating a musical environment for other artists to inhabit, which is a different skill than traditional classical composition.
Future Aspirations: I'm still discovering where I fit into the world of music, but I want to continue creating collaborative pieces. My goals are to continue integrating my classical, electronic and other musical backgrounds into these types of pieces, and see where that takes me.
Continuing to write for dance or theater: I plan to write as much music for dance, theater and film as I can, as long as anyone is willing to use it!
I am so excited to see this partnership in the upcoming production. Whether you are watching this piece change and come to life in stages, or witnessing it once live, you will surely be taken by the brilliance of these two!
Written by: Colin Fuller