Miguel explains why the experimentation is a fundamental part of the composition act and why he understands music simply as a way of thinking, feeling and a way of expressing emotions.
I don't like conceptual definitions. I understand music simply put as a way of inhabiting life. Music is a way of thinking, a way of feeling, and a way of expressing emotions. Besides, it's impossible for me to imagine my life without music, so I can't know exactly what the concrete meaning of music is either.
Do you agree that music is all about fantasy?
No, I don't agree that music is all about fantasy. Music is a purely human expression, and in it there are also many human aspects that have nothing to do with fantasy. Music is work, it is discomfort, it is conflict, it is beauty, it is denunciation, it is politics.
The classical music audience is getting old, are you worried about your future?
I believe that this may be a specifically European problem. Because if you look at other latitudes (for example: North America, Latin America, Asia, Russia, etc.), we will see that the public is always renewing itself. And I believe that the European problem has a direct relationship with the avant-garde proposals of the last five decades: die "neue Musik".
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?
I guess the same role as always: the encounter and flourishing of cultures. And I believe that many interesting things are already happening in this respect, especially in the new generations.
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?
Latin American children's and youth orchestras, for example. It's amazing how many orchestras and music schools have sprung up in recent years. In addition, classical music is no longer belonging to a social elite; the great academies of the world today are no longer for select students according to important surnames, but according to the capacity of each one's work.
Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?
I believe that creativity is very important, as long as the musician needs to develop in a more integral way. But if the musician only seeks to be an interpreter, creativity is not essential.
Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?
Of course we can. It's enough to take off your costume, talk to the audience in a more colloquial way, make a simple joke. On the other hand, I think it is important to renew the repertoires with new composers. Perform shows beyond conventional theaters. In other words: humanize the scenario.
Tell us about your creative process. Do you have your favorite piece (written by you) How did you start working on it?
I basically define myself as a composer. I therefore have many works of my own at this stage of my life; I cannot refer to a single work. The act of composing is totally subjective. I try not to rationalize, that is to say, I try that my music emerges from emotions and not from preconceived ideas. I also try not to use formulas previously learned. But it is true that with the passage of time, I have discovered elements in my music, things that are repeated and that inevitably refer to beliefs and ideologies. In a sociological sense, I recognize that in my music there are important features of a "Latin American ideology".
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?
I think that's the best thing that can happen to music. And that's not new. The artistic meetings at the end of the 19th century brought together painters, sculptors, musicians, literary artists, etc. Then, from the appearance of sound film to the appearance of the video format, thousands of multi-disciplinary works have been produced.
Can you give some advice for young people who want to discover classical music for themselves?
Let them go to live shows. And remove all prejudices from their minds.
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?
Of course classical music is part of a business, like all large-scale "artistic" productions. There is, of course, postmodernism legitimized by the academies, that monopolizes the artistic movement and its effective marketing and institutionalization. But there are also hundreds of new polystyrene trends. artists who work by merging the tools acquired from formal education with tools that emerge around them, and which are usually self-managed. I believe that this type of production should be particularly supported.
Do you have expectations what regards your listeners, your audience?
No, my expectations only concern myself. I don't expect anything in particular from audiences; I just hope they have the ability to feel, which usually happens.
What projects are coming up? Do you experiment in your projects?
The composer is a purely active agent, who throughout his life absorbs amounts of knowledge, and experimentation is a fundamental part of the composition act. My projects are multiple; I am permanently writing new music and looking for ways to perform them.