Composer Chats - Denise Ondishko

Hi Dede! Thanks so much for taking the time to chat to us ahead of us giving the World premiere of your piece, Star Clusters, at the Dora Stoutzker Hall, Cardiff, on 25th November 2022. Firstly, can you tell us a little bit about yourself?

Sure; I started my training as a pianist and began writing music in my teens. (Peabody Conservatory Preparatory Department in Baltimore, Carnegie Mellon University in Pittsburgh, Eastman School of Music in Rochester) I got hooked on computer music in college and jumped into computer systems programming with both feet for a long while. Then I got back into music and resumed writing music. Now that I’m retired, I’m really enjoying both writing and traveling.

We are so excited that you have written this piece for us! You’ve written a lot for saxophones across your career, in particular for our old teacher and friend Kyle Horch. What drew you to writing for the saxophone in the first place?

Kyle did! He is so enthusiastic about getting (dare I say growing) new music for saxophone. While in graduate school, I had a piece for wind ensemble premiered at North-western University while he was studying there. He introduced himself after the concert and shortly afterward reached out to me to write a new work. Over the years I’ve written four works for Kyle and thoroughly enjoyed every one! Recently Kyle introduced me to other performers he has met over the years, and I’ve just begun to write for them. I just love this instrument family!

Your new work for us is entitled Star Clusters: could you tell us about the inspiration behind the work please?

The inspiration for this work happened during my first meeting with the Laefer group over zoom. We got to talking about what we each like about the saxophone(s) in general and the group shared their thoughts on what they liked about my music. Words like “amorphous, mysterious, accessible” made me think of the Milky Way and a joyous, stary night. The idea of writing music to describe clusters of stars just popped in my head as we were talking, and the idea stuck! I’m really pleased how the work came out and how interactive the group was during the writing; I couldn’t have gone as far with the multiphonics without their help.

Who or what would you say has been the biggest influence on you as a composer?

My ear training in modes and experimental harmony as a young student at the Walden School, which was introduced to me by my teachers at the Peabody; it taught me to enjoy dissonance and to develop my own musical language as I write. Later, when I began using electronic music, and then using digital synthesis as a tool, or sound palate, I learned to have complete freedom in developing and exploring sound combinations. Both of these training grounds are part of my aural imagination.

You’ve written for a wide variety of forces, including full orchestra, chamber music and even children's theatre, as well as a lot of works with electronics! Do you have a preference at all? Is there a big difference in how you approach writing for each genre?

That’s a tough question. Sure, yes there are big differences. I would say I have more problems to solve when there are larger forces at play. It’s so much more fun to write children’s theatre because there’s so much repetition and I’m working with a playwriter. I can be corny and less critical. When I’m writing a symphony it’s just me, my screen and my inner critic; kind of lonely and tortuous at times. In general I have to say that I feel the most freedom in writing for solo instruments.

Obviously the last few years have had a massive impact on the Arts industry however here at the Laefer Quartet we are trying to keep a positive outlook; is there anything positive (experiences, new activities etc.) from the last few years you’d like to share with us?

During the pandemic I focused on my new love of Irish fiddling and sawed away at it as much as I could; I took up online belly dancing (out of London!) and took some creative classes online. I never felt isolated; I felt more in touch with my colleagues and friends than before! Also, I think I wrote about four new works—more productive than ever! Now that the pandemic is receding, I fear my friends and I are too busy to stay connected. So I have to say that I am grateful for that nice period of slowing down and reconnecting with people. Now with the concert venues opening, it’s so exciting just to be with other people while I’m listening to music and to share in their joy and excitement.

If you could only take one piece of music to a desert island what would you take?

Samuel Barber’s Adagio for Strings. I hope I never grow tired of this one!

Some quick fire questions now

- Cats or Dogs? Dogs

- Popcorn; sweet or salty? Salty

- Beer or wine? Wine; except when I’m in a brewery!

- Rugby or football (or neither!)? Tennis!

- Tea or coffee? Depends on time of day. Coffee in morning, tea in afternoon & eve

- Big night out or quiet night in? quiet night in.

- Will and Kate or Harry and Meghan? Probably Harry and Meghan

- Are these questions too British?!? Just that last one.

Finally, have you got any upcoming projects you would like to tell us about/what’s next for you

I’m working on my fourth symphony as we speak. It’s just for me and what I wish for as I go. Each movement in this suite is based on something coloured blue (for example: Blue sky, Blue shoes, Bright Blue future, Getting the Blues, etc) and is dedicated to someone I love. It’s just something I need to write. Maybe someone will want to perform it one day!

The Laefer Quartet will be giving the world premiere of Denise Ondishko’s Untitled at the Dora Stoutzker Hall, Cardiff, on 25th November 2022

Tickets and more information can be found at: https://www.rwcmd.ac.uk/events/2022-11/laefer-quartet

For more information on Denise Ondishko please visit https://www.jwpepper.com/myscore/ondishko