Lola Perrin tells us why music means freedom and that music is about reality, not fantasy.
Music means freedom; freedom to live inside solitudinous processes and do with that freedom what you will.
Do you agree that music is all about fantasy?
No I don’t agree. Much music is elusive but there’s also music with specific roles that has come into being in response, for example, to social movements, and that music is about reality, not fantasy.
If you were not a professional musician, would would you have been?
A biologist. I absolutely loved biology at school, and again, at this stage in my life I'm finding that I'm reconnecting with biology - in a way that's through my music composition.
The classical music audience is getting old, are you worried about your future?
No, there’s other more important things to worry about. Specifically how we are going to stop the things that are leading to catastrophic temperature rise.
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?
It would be good to see musicians return to playing in the salon, playing music in their communities with neighbours who also play, and perhaps reading some prose and poems, and having discussions. People would start to talk to each other again, without a screen between them. This would transform communities for the better, the bonding would be exponentially beneficial.
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?
Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?
Talk to promoters, tell them the ticket prices are often too expensive for younger people.
Tell us about your creative process. Do you have your favourite piece (written by you) How did you start working on it?
I’m proud of my piece for two pianos ‘Let’s start at the end’. I was trying to engage with climate change and immediately became stuck. For a few weeks I could not get a single idea to lead anywhere. Finally one day I just shouted, “if you can’t start, let’s start at the end” and ran to the piano and played chords as if something huge was ending. And that’s how I found my beginning, and my storyline – a world that was winding backwards from the tipping point. It only took three weeks to compose, but they were three weeks of absolute hell. Such is a composer’s life.
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?
The more, the merrier.
Can you give some advice for young people who want to discover classical music for themselves?
An interesting way in is to choose a time in history you may already be interested in and use the internet find out who the composers were at the time, what kind of houses they lived in, what their food was like, what were the wars at the time, what sort of things were they experiencing. And when you find the names of composers, try to get some details about how they lived. Were they ill all their life? Were they scandalous? What kind of person was that composer? And when you finally choose a piece to listen to, find out the stories behind or inside the music. All of this can really help the process of getting into classical music.
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?
Personally, I‘m more focused on composing and touring my works. I am very lucky to have a wonderful distributor for my published works.
Do you have expectations what regards your listeners, your audience?
No, I don’t think so
What projects are coming up? Do you experiment in your projects?
I’m touring Significantus, a keyboard conversation about climate change. The audience has a conversation with an invited guest speaker as part of my ninth piano suite, their spoken words are a movement within the suite. Each performance is an experiment and I’m learning how much we are all living the climate change story in our heads. It’s a wonderful experience, but I get little satisfaction because these are very urgent times and we need to be much more ambitious if we are going to keep the temperature down to a safe level.
I’ve recently founded ClimateKeys to inspire concerts pianists all over the world to do the same work I’m doing in my concerts, to work with their own guest speakers and have conversations with their audience. This way more and more people will talk about climate change issues and we will all be the better for it.