Nicky Sohn

This month we are thrilled to feature Nicky Sohn, a talented composer we commissioned to write us a quintet. We will be premiering the quintet at our annual THEY’RE ALIVE! 4.0 concert on April 12th @ 3pm, so stop by to hear this exciting performance!

For more info on Nicky, click here

And here is our interview with Nicky:

WSW: When did you start composing?
NS: I started taking piano lessons since I was 20 months old. It was not because my parents were forcing me to become a musician, but it was purely for my enjoyment. I always loved singing and playing throughout my childhood, and that led to me improvising at the age of 8. I began composing more seriously when I was 16 years old.

WSW: What drew you to composing?
NS: As far back as I can remember, I have always been surrounded by music. Music has been my escape and passion where I could express myself for who I am without worrying about other opinions. I graduated from high school at the age of 15 in order to come to America and focus more on my musical studies. Although this has provided me with countless fortunate opportunities for education and career growth that I am very thankful for, I sometimes feel that I have lost my root in Korea and do not belong here in America. But in music, I can be who I am and share what I have to offer in the world without being judged for my nationality, how I speak, or my gender. I thoroughly enjoy the power of music as well. Music is the most influential and powerful language in the world. It has the omnipotent power of unifying the people, thoughts, and ideas without having to share a language. I hope to continue studying composition and share what I have to offer to the world through music.

WSW: Where do you usually compose?
NS: Funny enough, I cannot really work on desks. I seem to lose focus and zone out very quickly when I’m around desks. Maybe it was because I was homeschooled from a young age that I never had to be tied down to a desk. I usually work in front of a piano, on a couch, or even sometimes on my bed!

WSW: Which composer do you admire?
NS: I am a big opera fan. I love going to the opera and hearing the singers whenever I get a chance. Puccini is one of my favorite opera composers and it is unfortunate that he does not get the respect he deserves amongst the composers or in music history. I feel that he is a bridge between Verdi and Wagner who are two important figures in the opera world. Puccini embodies the lyricism and simplicity of Verdi’s opera, but also incorporates the grand gestures and drama that Wagner is well known for. I also enjoy operas of Strauss, Wagner, and Berg. Besides the opera composers, Ravel is one of the most inspiring composers for me. Ravel’s music has been a huge influence to me for its dazzling colors, brilliant orchestration, and such an advanced artistic craftsmanship throughout his works. For the more contemporary composers, I enjoy the music of Derek Bermel, David Del Tredici, Robert Beaser, John Corigliano, and Paul Moravec.

WSW: What do you do in your free time?
NS: I love cooking. I find many similarities in between cooking and composing, for gathering the materials that are available to me and putting them together tastefully in order to create a unifying result. I enjoy coming up with new recipes and also trying new foods by exploring the city.

WSW: Tell us a little about the quintet
NS: Woodwind Quintet is my second woodwind quintet. It was written under the commission of Washington Square Winds in 2014-2015. I feel extremely lucky to have had the experience of working with such a wonderful group. Their concert series “THEY’RE ALIVE” in 2014 was a big influence for me on writing this piece. The florid sound that they brought in the concert led me to the sound of the piece. The piece depicts the nature of water in the form of flowing waves and tides through florid, yet unexpected gestures. The first movement, “Introduction,” has a lively, light, and dance-like quality. “Water Sunrise” is the slow movement of the piece. I wanted to bring out the melancholic side of the woodwind instruments and explore more soloist capabilities through the singing melodic lines. This second movement works as an emotional center of the piece. In the last movement, “Tidal Shifts,” the minimal amount of musical material is expanded upon greatly, allowing for the exploration of many harmonic areas throughout the movement. Shifting harmonies and superimposed textures build intensity as the piece reaches its dramatic conclusion. The main material of the last movement is shared with a percussion ensemble piece of mine with the same title.