Bryce Dessner is the first person we have ever featured on NewMusicBox who glowingly talked about both Paul Simon and Helmut Lachenmann. Like many of the most inventive creative musical minds of the early 21st century, Dessner does not compartmentalize music into different genres. However, it is clear that he has learned different lessons from his immersion into different kinds of music-making and that these lessons have made him a stronger musician, whether he is writing songs and playing lead guitar in the indie rock band The National, co-scoring the soundtrack for the motion picture The Revenant, or composing a double piano concerto for the Labeque sisters.
“I find scores to be a very advanced form of technology,” he opined during our hour-long conversation with him at the Archives of the New York Philharmonic immediately after a rehearsal for his composition Wires (for which he joined the orchestra on electric guitar for three consecutive nights in between their performances of Tchaikovsky and Sibelius). “With digital music, or sequence music, whether it be using Pro Tools or GarageBand or Ableton, or whatever, everything is based on patterns and loops,” he elaborated. “With a score, you see very clearly how to defy that. You can write across the bar and the sense of form is much more fluid and asymmetrical. In that way, in fact, I use score a lot in the band to create some of those details. We’ll write a song that’s basically doing the same thing for four minutes, but then I’ll look at it in a score and I’ll create patterns and motion in it that maybe would have been hard to see if I was just playing an Ableton loop or something.”
But scores can also impose limitations, as he then acknowledged. “Right now I’m in a season of needing to liberate myself from … that kind of isolation of looking at music and manuscript, and to be closer to instruments and to this idea of sound and the physical relationship of when I’m hearing notes played, I’m also feeling the bodies playing them. This physicality of music obviously translates the most when I’m on stage with my instrument. … So the balance of those things, maybe to capture that kind of lightning or that physical energy and then put it into a composition, has been something that’s really evaded me but has also excited me at times.”
Bryce Dessner has never been content to rest on his laurels. He’s always eager to explore something different. When he was asked by Sō Percussion to create a companion piece for David Lang’s The So-Called Laws of Nature, he wound up creating a new instrument for the members of that quartet to perform his visceral Music for Wood and Strings. Similarly, The National’s song “Lemonworld,” from their breakthrough album High Violet, was a by-product of Dessner messing around in the studio and tuning his guitar “all the way down until the strings were almost flub.” While he was composing Wires, the piece he performed with the New York Phil, he literally wrote himself “emails every day with large caps saying, ‘NOT ALLOWED TO DO THIS’” in order to try to “break old habits.”
“Part of why I’m drawn to doing this is because I’m still learning,” he explained. “I’m trying to be humble about my art and to be open to trying new things and also to say, ‘I don’t think I know.’ I’m dialing in deeper to what my true voice is and not being scared to try things.”
Dessner’s fearlessness about taking risks coupled with his openness to and fluency in so many different kinds of music have made him an ideal ambassador, not just between musicians from different backgrounds, but also with audiences. This has made him an ideal music curator, a role he has had at Knoxville’s Big Ears Festival in 2010, at the Cincinnati’s MusicNOW Festival, which he founded, since its inception in 2006, and most recently at a NY Phil Nightcap concert last month. Ultimately, the experiences that Bryce Dessner has acquired and now shares as a musician are valuable life lessons that can be applied to all human interactions.
“I’m happy to be a kind of diplomat if people need me to be,” he said. “I find when you come into a room with judgment towards someone who is different from you …, you automatically cancel out all kinds of exciting possibilities that can happen.”