A wonderful tensile energy operates on a subliminal aural screen behind the main episodes in Boston-based Scott Wheeler's music; perhaps they are musical particle traces of the dancers' and singers' bodies 'that are the medium for the stage composer's work', as Wheeler modestly describes himself in the booklet-notes. In fact, Wheeler turns out to be a highly effective composer of classical music by virtue of a vivid aural imagination whose ingenious, garrulous products he crafts into absorbing symphonic soundscapes that make the hip Boston Modern Orchestra Project sound great.
News and Press
Scott Wheeler (b. 1952) has been a continual "point of reference" for new music in Boston for decades, as composer, conductor, teacher. He has an enviable (and enviably diverse) set of teachers, including Lewis Spratlan, Arthur Berger, Olivier Messiaen, Peter Maxwell Davies, and Virgil Thomson! His own baseline aesthetic is what one might call neoclassical, but as the above list of mentors suggests, it is not some sort of throwback to the 1940s.
As evidenced by Heavy Weather [sic], Boston Modern Orchestra Project’s latest recording of music by Scott Wheeler, the composer really knows his way around percussive sounds. Even on pieces for strings like the title track, there is the ‘thwack’ of pizzicatos and bow slaps to help propel the proceedings. Pacing is another strong suit of Wheeler’s. The shadowy passages of City of Shadows are balanced by flurried gestures that enliven the music and help to articulate the work’s overall architecture.