Four Songs in E is a fabric made from threads of piano and electronics. Together they form a powerful statement about technology. Every individual’s impression is unique. By default, listening to music, whether in a crowd or in a quiet room, is always an experience disconnected from your neighbor. No matter how technologically driven and hyperconnected our daily experiences become, music will always remain a powerful tool to embrace the individuality of experience.
I’ve read that you’re a critic of technology. Can you elaborate on that and explain how your views on technology have impacted the way you compose music?
I have no doubt that Four Songs in E will quickly be absorbed by the utilitarian and ubiquitous sleep, relaxation, and focus playlists. However, if you listen actively, you’ll quickly discover a level of depth and intellect waiting. Dwelling comfortably within the Zeitgeist of contemporary piano music, Adam Protz gifts his listeners with electronic and melodic dissonance that subverts and elevates the typical experience of solo piano.
How and why do you utilize electronic sounds in your work?
The album is composed of four lengthy tracks. “Elsewhere” is over 12 minutes long. It’s a refreshing format but atypical in the streaming age. The length has great benefits, enabling Adam Protz to slowly build upon delicate piano arrangements and expertly choreographed negative space. The emotive crescendos are precisely crafted. They enter the foreground with an intense emotional force, capturing your meandering thoughts and blanketing them with a deep cinematic importance. These moments are a glorious reward for patient listening and they linger in the mind long after the composition moves on.
Your music enables the listener to bring their own personal and emotional thoughts into the experience of listening to your work. As a composer, are you able to have a similar experience? I’d like to know what your relationship is with the completed work and what you take from it.