Enrico Arcaro

WSW: When did you start composing?
EA: The short answer is my whole life, but that explains little. As long as I can remember I’ve tinkered with any instrument I came across, with my first instinct being to create something. As far as composing via musical notation, I’d say I started in 2006. Two years prior, I began musical studies at the College of Staten Island. I wrote my first string quartet “Insomniac” at that time, which really got the ball rolling.

WSW: Do you play an instrument or sing? And how does it affect your composing?
EA: I play guitar mostly. It’s my first instrument, I was self-taught until age 26. Though I couldn’t read, it was the catalyst for my composing career. It was then I discovered my ability to encapsulate my emotions through musical expression. I also play piano, bass, and a bit of percussion. It has a huge influence on my composing. Many ideas for chamber pieces start on my guitar. Even Monograph has three sections that are liberated-arrangements of my guitar music. It also affects my composing in a fundamental way. It inspires me to evoke in my compositions the same emotive-power I express through my instrument.

WSW: Where do you usually compose?
EA: It depends. On guitar, anywhere it comes to me while playing. However, with chamber music I’m way more particular. I prefer to be alone, at my desk, with incense and candles burning. Really need the right energy to channel on in some spirited music. After that I can do some busy work, or developmental stuff in a cafe or something.

WSW: What has been your biggest challenge in composing?
EA: The ongoing mastery of instrumentation. Understanding capabilities is one thing, but understanding what’s idiomatic and fun for a performer is something wholly other. Ideas come easy for me. I’m always happy with the integrity of my work; otherwise it wouldn’t be heard. But, the true mastery of instrumentation takes more than one lifetime.

WSW: What do you do in your free time?
EA: Playing with my instrumental rock band Audiometry, hardcore dedication to kung fu, as well as oil and watercolor painting. I read books, usually about kung fu/eastern philosophy, and painting. I love Emerson’s essays; a lifetime of wisdom reading right there. I watch lots, I mean lots of kung fu movies. I also love to nerd it up with my friends and play computer fantasy role playing games.

WSW: What was your objective when you composed Monograph? Can you tell us a little about the quintet?
EA: Well it was my first time writing for woodwind quintet, so my first objective was “not to suck!” That aside, I planned to arrange this piece I’ve had with Audiometry for ages called “silver brick” (that name is a whole other story). I started with that in mind, then as usual, the process took on a life of it’s own. It was a really awesome adventure for me. I was going through so much at that point in time, that when I did get something I was happy with, it really came across as sincerely as I had hoped. I’m super lucky to have the opportunity to write for and befriend such a fantastic group. You’re all awesome people as well as awesome performers. Thanks so much for letting me write some music for y’all!