Vincent A. Jockin





If I were asked to define his musical ideal, in a few words, his answer would be: “a Mozart’s Sonata form or a Bach’s Fugue, colored with the harmonic language of a John Williams!”.

Nowadays composer for over twenty years, Vincent Alexandre Jockin, born in 1976 (Toulouse, France), is already the author of more than sixty pieces for various formations (orchestra, choir, quartet, piano, etc.). Some works by Vincent A. Jockin are published and available from Euro Choral (choral repertoire) and FLEX Éditions (works for solo piano). Slowly but surely, his music began to seduce and attract more and more interpreters around the world: Thibaut Garcia (guitarist), Hugo Blacher (solo trumpet of the Orchestre National du Capitole de Toulouse), Andrei Kavalinski (solo trumpet of the Orchestre National de France), Tomislav Splojar (trumpet player, artistic director of festival), Christophe Saunière (harpist), Nicolas Cardona (pianist), Bruno Phillip (clarinet player), Mihael Paar (clarinet player), Camerata Cantilly (Croatian wind ensemble), Simply Brass (Croatian brass quintet)... necessary condition to reach a larger audience.



What does music mean to you personally?

Music is for me a way of communicating with others, of sharing not emotions (even if listening to music provokes emotions) but a way of seeing the world, a way of reorganizing the world, and proposing this new order to others. A work of art is for me a proposition of the world, a new way to see it, or at least to show it. ; See it through a new prism. I fully agree with the classical vision of the eighteenth century: the artist must order chaos. And to show this order, to share it with others is a way to appease the lives of men, and to rise, all together…

Do you agree that music is all about fantasy?

I find it typical to think that the artist is whimsical or that art is only fantasy. And that will not surprise you, after what I have just answered in the previous question. If you mean fancy like effects or unnecessary elements because they should be beautiful, then yes, the music is fantasy. But if we mean by fantasy the opposite of rigour, the opposite of symmetry, the opposite of balance, then no, music — for me of course! — Is anything but fantasy: a work of art must be constructed, elaborated, structured in order to be understandable and perceptible to the listener. We are too often accustomed to oppose scientific rigour to artistic madness, but this is a cliché that we should get rid of. Certainly, art is not a science; But our art is a know-how, a technique in the service of an abstract language, the music. In summary, I will say that, as any language the music must have its rigour and its grammar. But once the words are in the right order, we can express everything, even the craziest fantasies.

If you were not a professional musician, what would you have been?

I think I would have been a computer scientist or maybe a painter. By the way, I still create websites and write a code!

The classical music audience is getting old, are you worried about your future?

Not. I’m not worried. It is up to us (composers, performers) to make a more universal music and to renew the image of the classical music concert. If we show tot he audience that music is for everyone, if we find this universal message, then young people will return to the so-called “classical” music.

What do you envision the role of classical music to be in the 21 century? Do you see that there is a transformation of this role?

Like any living art, music must show that it exists, that it is terribly lively and inventive. Without wanting at all costs to be fashionable or modern, it must be part of a creative process that is very concrete for the public. At the cinema, the audience will see the latest creation. You have to do the same thing in music. Although contemporary music, throughout the twentieth century, has moved audiences away from concert halls, it is necessary to re-create and re-weave a bond by showing the public that it is fun to come and discover the creations of its contemporary composers. .

When I say that classical music is searching for new ways or that the classical music is getting a new face, what would come to your mind?

Few words to add to what I just answered earlier: Classical music could use the tools oft he 21st century like any other art: The Web, social networks, digital tools to disseminate, inform…

Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?

No more creative than the others. It is the art itself that must bring something new to the public. For my part, I am convinced that if we put the “beautiful” in the center of Creation the audience will eventually rush to be in “contact” with the beautiful! The World darkens day by day, so the idea is to create and to recreate, to reinvent.. The more the world will be dark, the more human beings will be in search of beautiful, I make the bet…

Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?

It is not too difficult for me to answer this question because, with my modest means, I try to find concrete answers by organizing a new type of concert in my city, in Toulouse (France). It is the content itself that will bring young people back to classical music. It will take a long time, but I still believe we’ll get there. The “beautiful” gives pleasure. The musicians and the public should find this aspect of creation. The art that makes you think, that was in the twentieth century! In the 21st century we definitely need fun and beauty.

Tell us about your creative process. Do you have your favourite piece (written by you) How did you start working on it?

I always work pretty much the same way. First, I need one or two themes (three more rarely). I need characters to write my story: the themes. Then I oppose them, confront them. Then I mix them. And finally, I try to put them in osmosis, in phases so that they create a real balance within the work, and that something is solved; May the order be well born of chaos. I think I could summarize each of my works in this way. It is too difficult for me to choose a particular work: one does not ask a father to name the most beautiful of his children: they are all perfect and flawed, each with his or her qualities and faults, and I love them even if I know the weakness of some!

We, Moving Classics TV, love the combination of classical music with different disciplines: music and painting, music and cinematography, music and digital art, music and poetry. What do you think about these combinations?With all due respect for this kind of approach, I think combining the arts is impoverishing them a little. On the contrary, I think that music should be enough for itself. It may be a purist’s opinion, but I remain convinced that good music does not need anything else to accompany it.Can you give some advice for young people who want to discover classical music for themselves?Too many people have suggested that art in general, and classical music in particular, were reserved for a certain audience. It’s just silly. Art must be universal and must address any human being, wherever it is on the planet. It’s our only common language. It’s our only link. So I will say to young audiences a simple thing: Do not think you are too stupid or that it is not for you. Art is for those who want to receive it. Be curious, and devour the world! Go and discover art, don’t be afraid! What are you risking?Now it is a common practice in the media to talk that the classical music is getting into the consumption business, do you agree? We are speaking about the supply and demand rules and how to sell your “product” in your case your compositions. How do you see it?It’s the absolute trap. Music is an abstract thing. Music has to stay. It must be shown to the public that it is not a consumer property. It is necessary to re-teach the audience the sacred thing that is music, as was the fire for the men of the caves. The modern world has lost the meaning of the sacred. I am not a believer in the sense that I have no religion, but I think I have a great sense of the sacred; Music is sacred because it raises us, it comes out of our own condition, it shows us that we are more than mere beings of flesh and blood. The artist must therefore show to the audience that the moment he or she shares with the audience is a unique moment, an invaluable moment that the audience can only experience; they cannot buy it or possess it. They just have to experience it, and nothing else.Do you have expectations what regards your listeners, your audience?I think they are just waiting for me to pursue the modest path that I have begun to trace.What projects are coming up? Do you experiment in your projects? A new edition of a concert dedicated to the creation of my music in October 2018; The first edition took place in October 2017. This is a lot of work because this concert is made up of 65% by original creations, and 35% by music arranged specially for the musicians present at this concert…