9 Questions with Steven Snowden
Where did you grow up?
I grew up in the Ozarks of southwest Missouri just north of the Arkansas border. Very rural. Very pretty countryside. Very tasty biscuits and gravy.
What made you realize that music was your path?
I think it was when I nearly failed out of college my sophomore year. I was working the night shift unloading trucks at Wal-Mart to pay tuition/bills and had a really difficult time making it to my morning classes. Music was the only reason I considered going to university in the first place and I had to make a decision. I could either drop out and get a job working in construction, or I could pursue my dream of being a musician. That would mean taking on student loan debt without knowing whether or not I would make it to graduation, but I knew that this was probably my only chance. Facing that decision head-on forced me to reconsider just how important music was to me and whether or not I had any chance of making it into a career.
How would you describe the music that you typically create or created for this project?
Storytelling is pretty central to my work and Traveler No. 65 is no exception. Though I don’t normally follow a linear programmatic narrative, I draw a lot of inspiration from lesser-known people, places, and events of the past. I also strongly believe that a clear understanding of our history can help us make better informed decisions in the future. With that in mind, I often focus on stories that draw parallels between the past and current socio-political issues. Musically speaking, I’m kinda all over the map. I enjoy working in lots of different styles and just run with whatever I think will best fit the story.
Who are your biggest musical influences?
First and foremost would be Frank Zappa. His album The Yellow Shark totally blew my mind. It was the first time I’d heard orchestral instruments doing anything experimental and I was hooked. I probably wouldn’t have become a composer if it weren’t for that album. Aside from that, I’d say Pink Floyd, the Finnish folk band Värttina, Zap Mamma, and the field recordings of Alan Lomax.
Has there been one particular moment in your musical career that you're most proud of?
There was a percussionist who performed my piece Long Distance at her senior recital a few years ago. She dedicated that performance to her father who had recently passed away and told me that it helped her through the grieving process. Not exactly something I can put on a resume, but it meant a lot more to me any award or high-profile premiere.
What made you want to write?
I was a horn performance major for a while in college and basically got tired of the standard rep. I was aware of only a few modern pieces for horn, but was fascinated with improvisation and extended techniques. Because of that, I decided to start writing my own music. It wasn’t very good, but at least I was free to play it however I wanted to.
What is your favorite thing about the work you wrote for Sybarite5?
I really like how it straddles playfulness and heaviness all within the same groove. Oh... and also, those rock & roll guitar squeals at the end.
Where did you get the idea for this piece?
As is often the case for me, surfing Wikipedia. I came across the entry for HAM the Chimp a few years ago and was totally fascinated. I knew that someday I wanted to write something inspired by Ham’s story, and this presented the perfect opportunity to do that.
What’s the next thing for you?
I’m working on a piece for Kontras Quartet that will be premiered in San Diego this spring. It was inspired by Hidden Mother Photography in the 19th Century and the invisible sacrifices that mothers make to give us the best life that they can.