Belgian composer Wilfried Westerlink shares his view of creativity, he is talking why classical composers should think a little more economically and what new projects he is working on.

What does music mean to you personally?

It means a lot for me . In the first place it inspires me to look always for the beauty and balance in my own live.

Do you agree that music is all about fantasy?

No. It is not only fantasy, because music is structuring sounds in harmony of the expression you want to give it as a composer. It has also a lot to do about honesty. With those elements you can create a world of fantasy, that is true!

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

I think I would like to be a lawyer. Also there it is all about honesty and looking for truth.

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

Oh yes ! Not becuase the audience becomes older in age, but because music and arts in general ask a certain commitment of the public. Nowadays the public and certainly the younger people are no more agreed to do that effort.

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 think there will be a change , yes, but in which direction this evolution will go, I can hardly give an opinion.

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?

I really do not know , but I think it will be more in the ‘ entertainment’ field …

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

He has to be more creative in making the programs. The programs are now to much made of piece of the 19th century… For example, improvisations can be involved in those new kind of programs.

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

Oh Yes, You can do a lot. To give some introduction to the works you will play. To tell about all the problems you have to prepare a concert. To make programs that are more attract to young people .There is more music then only Mozart, Beethoven, Brahms and Schubert. Put more other interesting music and start with short pieces…

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

The last work that I wrote is always my favorite piece. A lot of pieces I wrote is on demand, or just for musicians I know and that I can I have an musical affinity with.

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 have already written a lot of pieces that has paintings as inspiration. Painters as Andre Goezu ( clarinet and percussion),E.L.T. Mesens (flute and harp), Jan Cobbaert (piano-solo); but also the poetry of Jo Gisekin( Gisekin Rhapsody for 4 hands-piano), Pierot on bas of the poetry of Anbert Giraud; Melopee based on a poem by Paul Van Ostaijen have been an inspiration for me.

Can you give some advice for young people who want to discover classical music for themselves?

Open your heart for the real beauty of 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?

It is true that the consumption business is more and more using classical music for their purposes. It is not always a good evolution. On the other hand, a classical composer has to think a little more ‘ economically’.

Do you have expectations what regards your listeners, your audience?

As all composers I want to reach the heart of the listener who has a really open mind to discover music of today.

What projects are coming up? Do you experiment in your projects?

I am writing at this moment of work for string-trio. I want to write a 4th sonata for piano solo, and already for years I am working at an orchestral suite around the theme of Pieta Country:

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