Scott was a guest composer at the Norfolk Music Festival in June and July. He spoke on his music and that of his teacher Virgil Thomson. He was also Norfolk’s “expert blogger” regarding their focus on Thomson. His blog interview on Thomson is archived on the Norfolk website:

Scott also had a residency at Yaddo in July, where he worked and played with a splendid group of composers, writers and visual artists.

Scott was interviewed by Evelyn Austin for the spring 2012 edition of arts journal Kunstlicht, focusing on the connection between poets and artists in New York City. The interview deals with Scott’s setting of Kenneth Koch’s The Construction of Boston, featuring artists Robert Rauschenberg, Jean Tinguely and Niki de St. Phalle.

From Opera News January 2012:
INSTANT REPLAYS: "Tracks that deserve special attention included … any of Susanna Phillips's contributions to Wasting the Night, an album of Scott Wheeler songs (Naxos)."

The Massachusetts Cultural Council awarded Scott a Finalist Award in composition, as part of their Artist Fellowship program.

Scott interviewed in Le Monde
Read the full article.

A new cd on the Navona label, released in May 2009, honors the late composer Donald Martino. Scott Wheeler conducts Dinosaur Annex in Quintino by Peter Homans.

New Music Connoisseur reviews the Naxos cd of The Construction of Boston. The review says, in part: “The musical style is both post-minimalist in orchestration and rhythm and post-modern in its appropriation of styles. Wheeler's opera churns with a rhythmic and polyrhythmic vitality, sliding through unexpected shifts of triad-based harmonies, reminiscent of John Adams' best work. The childlike tone of the libretto, glorifying the world's "best city" and its geographical location, also has the decidedly modernist tone of Glass' and Adams' operas, clean dramatic lines and lots of space in the detail, letting the viewer fill in meaning--the stylized purity of a Soviet propaganda poster.”

The Naxos release of The Construction of Boston has received a number of positive comments in the press. On Sunday September 7, Anne Midgette writes in The Washington Post “embraces the over-the-top theatricality of the form in a contemporary equivalent of opera buffa… Wheeler (whose "Democracy" was done at the Washington National Opera in 2005) finds an antic but wholesome melange of musical styles that proves a good foil for Koch's brand of down-to-earth, gee-whiz, all-American nuttiness.” In The Absolute Sound, Wayne Garcia writes: “the composer has created a unified and original score of shimmering transparency, well-structured drama, and moments of remarkable, often unexpected beauty. A plucked banjo sets the tone in the Overture. The Prologue is an extended dialogue for tenor and piano, and the small cast of soloists, orchestra, and chorus does a first-rate job conveying the sense of an awakening city.”  Colin Clark, writing in Fanfare, praises the performance by Boston Cecilia: “Henry and Sam (taken by tenor Charles Blandy and baritone Marcus DeLoach, respectively) are evenly matched and eloquent. Krista River has a strong, almost contralto-like low register; Sharla Nafziger sings the marvelously named Niki de St. Phalle, the bringer of beauty.”

Friday September 12, 2008: Scott accompanies mezzo soprano Krista River in two songs of Noel Coward as part of a concert entitled National Anthem: Classical Musicians Unite to Elect Barack Obama. The concert is at 8PM at Jordan Hall in Boston.

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