Natasha Sinha: Top Ten!

Natasha Sinha: Top Ten!

Natasha Sinha
Interview Excerpt #6

FRANK J. OTERI: Well now, so far you’ve written music for one instrument, just the piano, and then you’ve written music for two instruments, piano and something else. Have you thought about writing for larger combinations?

NATASHA SINHA: Yeah I have. I just recently made a piece called The Little Orchestra and that has three, actually four in it. It’s the piano, the violin, the viola and the cello. I’m still working on it right now. I’m making a piece called The Wild Swans and it has the same thing, it has the piano, the violin, the cello, and the viola, and then I’m going to add in some brass instruments.


NATASHA SINHA: The trumpet and then a little bit of percussion instruments.

FRANK J. OTERI: Neat. So you haven’t done anything yet that doesn’t have the piano in it. Everything has piano.

NATASHA SINHA: Yeah, so far.

FRANK J. OTERI: Is that because you’re a pianist?

NATASHA SINHA: Well I think, the piano has some special role in most of the pieces I have because I think that the piano always has some part in whatever I’m doing. Because it just sounds right. Eventually I might have something where it doesn’t go and I can pick maybe the harpsichord or something. But actually one time I did not use the piano. I actually used the harpsichord…

FRANK J. OTERI: What piece is that?

NATASHA SINHA: Right off the head, I don’t remember. I used it for a piece I thought was more like in the olden days.

FRANK J. OTERI: Now do you have a harpsichord at home?

NATASHA SINHA: No actually I have a keyboard though and it has a harpsichord on it. Like you just press the button…

FRANK J. OTERI: You have a piano at home though.


FRANK J. OTERI: So much of the stuff you talk about has a story. But you haven’t done anything for voices yet, for singers. Does that interest you?

NATASHA SINHA: Not at the moment, but I’ve been thinking about it because just recently, I saw the Phantom of the Opera and I thought that was really cool. But for right now, I’m not sure about that, but I’d like to do it someday.

FRANK J. OTERI: So you’d like to write an opera or a musical theater piece or something?

NATASHA SINHA: And eventually, I wanna create for maybe not a full orchestra, but a pretty good sized orchestra.

FRANK J. OTERI: You write mostly suites of linked movements, but every one of the movements is very short. Some of them are about like a minute and half, two minutes. Have you done anything that’s a longer stretch of continuous music?

NATASHA SINHA: You mean in like one movement?



FRANK J. OTERI: Do you want to or do you feel that the short movements are better?

NATASHA SINHA: Well, I’ve considered that but actually I have longer movements now in The Wild Swans because there are lots of parts where you have to repeat stuff. And another thing is that in this new suite I have to be more detailed which means that I have to make it more lengthening.

NewMusicBox provides a space for those engaged with new music to communicate their experiences and ideas in their own words. Articles and commentary posted here reflect the viewpoints of their individual authors; their appearance on NewMusicBox does not imply endorsement by New Music USA.