French composer talks about honesty and impartiality in music and that everybody should follow their path, be it rocky or heavy, without an alternative plan.
Music is the best means of expression for me. Maybe even the only way to recognize my true self.
Do you agree that music is all about fantasy?
I agree insofar that music fantasy needs. However, the music should always grow beyond your imagination beyond.
If you were not a professional musician, what would you like to be?
I think I have to be no other place than a composer. Any other profession would mean for me to live in misery.
The classical music audience is getting old, are you worried about your future?
Not the audience worries me. It is the lack of interest of many organizers and institutions against the contemporary art, which makes concern.
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?
We, who live today, have a responsibility to write the ancient music of the future. What today's traditional sounds are, were new sounds in the past. We are also committed to composing the music of our time and expanding the spectrum around our sounds.
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 would say that searching was always the driving force of progress. Nevertheless, music should primarily touch. It is often forgotten that music is an entertaining art.
Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?
Yes of course! Making music creatively, should go beyond borders. Sometimes that means even to take a step back in the tradition.
Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?
Music is vital! I try to take the audience to my sound journey. Sometimes it is also necessary to talk enthusiastically about it, to tell people how much beautiful and interesting things can be found in contemporary music.
Tell us about your creative process. Do you have your favourite piece (written by you) How did you start working on it?
Often, at the beginning, there is a desire to compose something for a specially cast. How will be the actual sound, this will be highly dependent on my current mood and state of my mind. Very often there is only a short motive or a rhythmic structure that I would like to pursue. Favorite pieces are mostly the last ones. However, there are "Five Concert Pieces for Cello" who accompany me twenty years and whose origin goes back to a car accident.
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 believe it is important that there is cooperation between the arts. Several years before, I have initiated a project "Color and Music". And any synergy between artists is worthwhile for art.
Can you give some advice for young people who want to discover classical music for themselves?
Follow your path, whether it is rocky or heavy. And, do not make an alternative plan.
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?
Unfortunately, it is what is common practice. Music, which is commercially oriented, is often uninspired and flat. This is especially clear when you look at programs from theaters, orchestras and CD productions. And this ignorance is what strengthens the crisis in classical music. The audience develops interest when our own enthusiasm for our music is honest.
Do you have expectations what regards your listeners, your audience?
Impartiality, I do not expect more!
What projects are coming up? Do you experiment in your projects?
Several works are planned for various larger ensembles. As a composer, you can only experiment in a very small way and it is only possible during the development process. But I always hope that my performers take the time, even at the performance, for experimental and creative handling.