Tao Mijares talks about why the new art-music will be tight to the media production, how to apply the creativity to the filtration and selection of all the influences around and how to identify the real valuable music and generate a taste for the musical work in the audience.
Music is the most ethereal and spiritual of all the fine arts. Work with sounds, as an art-music
composer, is working with the most subtle of all the substances: Sounds and silence.
Do you agree that music is all about fantasy?
Of course not! It is about science, harmony, structure, imagination, yes, but an organized
one; all these elements should be put at the service of an aesthetic idea to express a universe of
human feelings. Music is an absolutely complex phenomenon, a blend of precision, creativity,
and expression. We are talking about art-music, not about the commercial music which the main
goal is to make money, a totally different approach.
If you were not a professional musician, what would you have been?
Maybe an astrophysicist or a Neurosurgeon.
The classical music audience is getting old, are you worried about your future?
Of course I am worried. However, I believe that the same way Bach music was preserved and
rediscovered, even if the art-music almost disappear, somehow, the Universe will re-position it
on the test of the general audience, through the real music lovers.
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?
Nowadays, if we talk about the music composed in the last 5 years, for example, it is almost
reclused to a very, extremely reduced audience. However, there is a field where (Believe it or
not) there is space for this music to be fully appreciated for all kind of audiences, that is the film
music. I’ve noticed that some very complicated serial music is used from time to time for certain
kind of ,believe or not again, in the most commercial movies. Video games is another amazing
field that can cast contemporary music to be tasted by almost all the audiences; thus, in my
humble opinion, the new art-music, will be tight to the media production. I wish, at some point,
there was a movement, or maybe a person or an institution that will take all that music to the
concert halls a massive scale (From time to time, effectively, quality music from famous films, are
taken to the big philharmonics around the world) Now, if we want to talk about art music at all
times, I believe it will survive the eons; hopefully I am not being too optimistic!
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 believe that creators, composers from all times, were always the new face and that this is a process that repeats today. What I don’t trust is the novelty for the novelty itself. When a composer tries „to be original, to be the new face of a movement,“ of necessity it will be a failure and won’t prosper. However, when a creator absolutely mindless regarding how „new or unique“ his aesthetic language is, but just stick to himself, after a long study of the music in general and letting him/herself permeate from the influence of the biggest music geniuses of the history, the new style, the new musical proposal, will emerge triumphant and eternal.
Do you think that the classical musician today needs to be more creative? What’s the
role of creativity in the musical process for you?
As I said above, they have to be faithful to themselves. Maybe now, the creativity should be
applied more to the filtration and selection, the decantation of all the influences around, trying
to identify the real valuable from the useless ones. Unfortunately, there are plenty of very
„famous“ composers whose work is basically worthless, but that are very well sold by the
mainstream media; teach young generations of composers to recognize the universal value from
the passing fashion with no deep value, should be a must. The creativity, I believe, per se and
regarding the musical oeuvre, is warrantied with the new generations.
Do you think we musicians can do something to attract young generation into the
classical music concerts? How will you proceed?
Again, accordingly to what I said before, probably what we need to do is just create awareness that young generations are already being exposed to art music in quality films, quality video games, in some advertising (Music from Ludwig, Wolfgang, and even Orff, are very often used in a number of commercials) and some global streaming systems like YouTube, propose very good new art music as a background music for video creations. If only the young musicians were aware of this motley variety of music, I believe it would result in an amazing impulse to art music.
Tell us about your creative process. Do you have your favorite piece (written by you) and how did you start working on it?
I could talk about the motivation to approach a piece. It could be an idea revolving in my mind or a commissioned work; in both cases the motivation is clear. Now, regarding the real creative process, I have to confess that I have no idea what it is. Somehow the music handles to flow while I am in a sort of stupor, numbness, unconsciousness, something like that. As a matter of fact, there are some of my compositions that I have no idea what was I thinking when I composed them; actually, some of them, like „5 ESTAMPAS NORESTENSES“ and the Symphonic Poem „Quetzalcóalt“ were born like that... and then again, I really don’t know how they were born.
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 am a strong believer, as Scriabin was, for instance, that music has both powers to be appreciated: By itself and as a part of a multidisciplinary work. Ballets and Opera are a great example of that approach based on the mediatic resources the composers, back those days had. Why not combine all the numerous media mean we can dispose of nowadays, with art music? The results, if it is done well, are always astonishing.
Can you give some advice for young people who want to discover classical music for themselves?
To pay attention all around; movies, video games, some ads, the internet, everywhere. Art music actually can be discovered in almost any place. Starting from there, to explore, to search, to educate themselves. Nowadays the have amazing tools for that purpose. All the have to do, is be aware of what they are hearing.
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?
I believe that, especially if you are making a living out of music composition, you need some degree of commercialization that won’t compromise your integrity as a creator but that allows you to generate a taste for your work in the audience. Let’s say that for professional musicians is a necessary evil.
Do you have expectations what regards your listeners, your audience?
Just for them to give some of their precious time to listen to my work; that solely will be an honor.
What projects are coming up? Do you experiment with your projects?
As a part of the creative process, I guess, all is experimentation, all should be the splendid experience of the new; after all, composing is creating, thus, experimenting new horizons