One of the composers for whom Matt has a strong affinity is György Ligeti. He says, "I was introduced to Ligeti's etudes at my very first composition lesson when I was around 16 years old. I remember being shocked because I'd never heard anything like that being played on the piano. I found them intellectually and emotionally complex. I knew that I wanted to play them but they were beyond my technique at the time. Since then, I've spent time studying the etudes and learning how to play them."
Matt adds, "The etudes influenced me as a composer in that I think about how my music is perceived. Is it intellectually interesting? Does it also have emotional content to it?"
In his compositions, he enjoys exploring the different sounds that can be created by acoustic instruments. Matt continues, "I try to find meaning between sounds and structure the music so that there's a natural progression and an arc to it."
One of the major challenges for any composer is knowing how works for larger ensembles or orchestras might sound before they’re performed. Matt explains, "When I first come into a rehearsal, I'm actually pretty nervous. I wonder if the composition will sound how I hope it's going to sound? With experience, you can guess what your composition is going to sound like, but until you hear it you don't know."
The process of composition doesn't stop after the rehearsal. Matt says, "After I hear a piece rehearsed, I ask myself if it sounds how I want it to sound. Do I like it or do I not like it? How do I advise the performer or the conductor about how to adjust? What is their input on my composition?"
For example, "My last work for piano, clarinet, violin and cello was premiered at the Orford Arts Center when I was staying there a few years ago. It was also premiered in NYC so it has gotten at least two performances which is great. In the first performance, I realized there were certain tempo problems with it. I liked it slow at first but the second performance made me realize that I wanted it more up tempo."
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