Michael Schelle  @  Schellemusic, Inc. : Indianapolis


   MICHAEL SCHELLE, composer             

                              "In 1988, at the University of Kansas, John Cage  started a standing ovation
                               following a performance of my piece HOWL
(for solo clarinet and ensemble).
                               At that moment, I realized John Cage is the greatest composer of all time."

-  Michael Schelle


                 TOKYO BAY, 6 a.m. : NEW YEAR'S DAY, 2014


"Composer Michael Schelle creates a world within which each person can
measure soft memories and gain release from shards of harsh remorse, and we
are soaring into space beyond human ken, a soul freeing itself into lightness."

Rita Kohn, NUVO Newsweekly



Michael Schelle’s “Straight, No Lithium,” a collection of nine preludes for solo piano, opened the program
with a tongue-in-cheek jolt.  Schelle begins with a rollicking update of the barrelhouse style, sometimes
mating parodies of Sprechstimme, with the energetic pianist, Jim Loughery, gamely vocalizing.
A more introspective, angular middle section (the preludes are grouped in threes) leads to
an explosion of purely Bachian figuration, punctuated by brash, increasingly
assertive chords that seemed oddly natural, rather than disruptive

Allan KozninThe New York Times



VIDEO here

Playing on the nerve ends, Schelle's "The End of Al Capone"
held its own between two landmark works by Peter Maxwell Davies,
"Eight Songs for a Mad King" (1969) and "Miss Donnithorne's Maggot" (1974).

Jay Harvey, Upstage        complete review here



The Wolves of Parnassus howls with conviction from the very start.  Schelle's wolves are
pack animals and predators upon musical order, particularly in the first and last movements.
They are reminders that in addition to being sacred to Apollo, Parnassus also was regarded
as having a strong connection to Dionysus, a god after Schelle's own heart

Jay Harvey, Upstage        complete review here