Bryce Dessner Guitarist for the rock band The National, Bryce Dessner is also a composer whose works have been performed by leading ensembles worldwide. On 13 April, the Labèque sisters give the world premiere of his Concerto for Two Pianos with the Londo
I like to gather a lot of information before I start work on a score. I spend a lot of time approaching a project from various directions – that includes getting to know the performers I am writing for and researching and thinking through the subject matter. I then work at the piano coming up with more general ideas and sort of creating a list of things I want to the piece to do.
When I do start to compose a piece, I o en get the wind in my sails. I am more than capable of spending ten to 12 hours a day working on it. I actually also enjoy composing on flights, as I find it an enjoyable distraction. I once talked to Philip Glass who said that he also found it a good time to compose, as no one disturbs you. The job of a classical composer can feel pretty lonely. Not only do you usually work alone, but you are also working in a tradition that is very old and full of unbelievable geniuses. In terms of creating new work, its success really depends on the vitality and energy of the performers. It is visionary soloists, ensembles and conductors who are able to give life to new music in a way that is so rewarding for me.
I first met the pianists Katia and Marielle Labèque at a rehearsal in Los Angeles. They already knew my music and we developed a friendship. They are like musical royalty in France, having grown up working with the likes of Messiaen and Berio, but they are also very open, adventurous and generous. So the concerto I have written for them is very personal for me, and I also love their playing.
I have always had both classical and rock music in my DNA. While the two sides may seem incongruous, I find that they refresh each other and provide a healthy balance. And that doesn’t just apply to the music itself, but also what surrounds the music. The cultures are very di erent and the calendars are very di erent – classical music has to be planned way in advance, while in rock music something will happen in just a month’s time. Both are, I’d say, integral to who I’ve become.