November 1, 2017

What does music mean to you personally?

It means everything to me. Music is possibility. 1) The possibility of finding meaning to existence. 2) The possibility of the discovery of the yet unknown. 3) The possibility of experience in joy, sorrow, amazement, awe and logic. 3) A true catalyst and vehicle of cathartic understanding. 4) A continuum of organized life and a way to understand organic methods and affairs.

Do you agree that music is all about fantasy?

Yes, to a certain higher degree. In the historical sense, it is through the ‘canzona’ (an earlier process of the ‘fantasia’) that the larger and standard forms came into existence as functional and solid processes. In a more practical way, I do feel that it is through the imagination and the fantastic world that ideas flow with a considerable amount of freedom so that the organization of music tends to proceed smoothly. The fantasy allows the material of music to circulate in such a way that the barriers of the mind are less likely to get in the way of the organic phenomena.

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

I probably would have chosen to be a movie director or an astrophysicist, or a mathematician or an archaeologist. I like many things.

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

I’m not worried about my future in that respect. I have always found myself giving concerts for less than 50 people and sometimes it feels all right. I have seen, however, that, through the incorporation of the other arts, and the inclusion of popular idioms into my compositions, younger people have been attracted to attend my classical music concerts.

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?

If I have understood the question properly, I have experienced this transformation within myself, as I have included a interdisciplinary and multidisciplinary approach in my concerts but I feel that classical music has still a very strong impact on historical values that I believe the transformation is still positive. The one aspect that must change for a better course is education. As long as there is good education and classical music is treated as an important element of it (being music a provider of good physical and emotional health or a great provider of invaluable experiences) the transformation will have a far more positive outcome than we think.

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?

Classical music has always been in the search of the new. It is like a historical curse. Every composer wants to be different. All music seems to patronize the ‘new’. Here I can reflect on something important: the age of the ‘avangarde’ is beginning to be tiresome. I feel that the freshness will be impossible to avoid; after all, every human being is capable of expressing his/her own uniqueness. When I teach composition, I am not interested in the student being capable of mastering a technique (he can do that in his own time) I’m interested in providing a way for him/her to bloom whatever good intentions can flourish out of their creations and I believe the ‘avantgarde’ have already sacrificed both, the emotional and the rational mind in order to manufacture Frankenstein that are completely different from the beauty around the intuitive. I sincerely hope that the people in power make a change in classical music for the better.

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?

Creativity has a deep relationship with experience. I am afraid that the internet is fracturing real experiences in our society. I have already know of 12 year olds who do not know what it is to climb a tree or let alone hug one with a loving heart! It is preoccupying that the experience is taking place more so through the interaction with a tablet or a cellphone. Creativity is crucial for composition and it is also for interpretation; even more so for improvisation. Creativity is at the core of every way of communication; it is a most important aspect of human behavior.
In my process, creativity is essential. It is more so like a path, or a way of channeling options and working with solutions that were not available in previous thinking processes. However, creativity is not to be overused or the end result can be much like a mess. For me, creativity is the art of breathing; it has to be exercised every day but treated with upmost respect and refinement. Creativity is but an ingredient of what craftsmanship really is.

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

Yes! We need to get involved with them. We need to be an example to them. We need to understand them but we need to find a way for them to understand us. This is only going to be done if we communicate with them; if we have meaningful experiences with them. We might need to become their mentors preferably at a very early age. We need to write more music for them. Sometimes it is not about having them come to us but the other way around.

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

I have a multidisciplinary theory –called the JLPER Theory- it relates music with astronomy and archaeology in unprecedented ways. The core idea of my theory is that the intervals resemble with precision the order of elements in our Solar System and the seven spectral classes of stars. When all the numbers in the sequence (G = 7 for example) are added together they result in 365; so this system works very much so like a Solar Calendar. In 2005, I found that the ancient Mayans and Aztecs did depict the same mathematical sequence I have been working for years, in their most relevant cities and stone carvings which indicated that they knew about astronomy far more than their European counterparts in those days; more importantly it revealed a unique aesthetic which sounds very Mexican, somewhat modern but with a preoccupation with harmonic beauty –like such we can find in flowers. In recent years, I found the same sequence in the recording of the XP module that landed on the Rosetta comet which made my research and compositions take on a turn of interest by the scientific community in Merida, Yucatán. One of my favorite pieces composed with this JLPER Theory is an orchestral piece in one movement that I composed in 2010 to celebrate the centennial of our Mexican Revolution. It has not been performed yet but I have a special feel about it. Another piece which I do love is named: Xoctlamique Nuxochiltzin - Ah Tlamiz Noxochiuh; a piece for choir, piano, contrabass and gran cassa, that was premiered and recorded by the San Antonio Chamber Choir. The audio is on my Soundcloud platform and on my website as part of my JLPER Theory album that I have displayed there. Most of those pieces are a real fascination to me. Alenka, my chamber strings and piano concerto is also one of my favorite works which work with this JLPER Theory.

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?

Perfect combinations! I wish I could do some things like those; I just have not find a learning time to understand light and film in the correct way. I did several concerts in Merida with poetry and theatrical arts. I believe they were a success at the time I presented them.
The interdisciplinary is wonderful and I believe that the multidisciplinary is also great.

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

Yes! Start with a deep listening of whichever composer has made you cry, or laugh, or feel goosebumps. I started very young, so that does not count, but I do remember the awe I felt with the symphonies of Jean Sibelius. Dedicate every day to a recording of music and try not to criticize it, just enjoy! Be aware that some of the tracks you’ll listen will be disgusting for you; pay close attention and remember their titles because later in time those same pieces will be among your favorites!

Now it is a common practice 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?

Horrible. I have often recorded my music with a very bad sense of recording to avoid getting into that. In fact, all of my registered compositions are available for free in the internet. But one thing is clear to me; I feel it will take a long time for my academic music to be music for consumption; maybe my Rock pieces but that is another story. The only bad thing this can offer is ‘bad taste artists’ dominating the scene; but eventually only time will favor the brilliant and the dedicated to the craft. I will put my efforts into that even if I have to eat on a diet.

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

It has been at times very difficult for me to perform to audiences that tend to emanate a sense of unease or criticism; specially when they are too close to my piano or my guitar. I expect them to enjoy but of course sometimes audiences can be very difficult. I also find that silence does affect positively my performances but sometimes that is hard to come by. I usually tend to expect my audiences to have a great time and to enjoy the music and ideas. Lately I have been thinking of making live broadcasts to share my music.

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

I usually write several pieces at the same time. Now, I am writing a very easy piece for a student of mine that has asked me to write a piece for his guitar and his piano friend. He has been such a great student that I am planning to finish it by Christmas as a gift. I am also writing some pop electronic music to distract myself and to make myself dance and keep some high spirits! I’m also writing some sacred pieces for guitar. Most of my performances can be seen at the YouTube Channel by the name of: Cuauhxochitzin

I do experiment always. Each piece is in fact an act of experimentation, which is a key element in the process of composition. If the project is all about improvisation it is all about experiments. Sometimes is proper to experiment and some other times is proper to go with caution. In the end, experiment is hand in hand with experience; so in any case I give it a thumbs up at any time.
Thank you so much for letting me be a part of your musical experience. It is always so rewarding to find people like yourself in this world, which makes life even more beautiful and meaningful. All best,
Juan

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Posted in Piano and tagged contemporary piano, Fantasy Notes

October 8, 2017

What does music mean to you personally?

I have been singing since I was two years old, and music has always been there for me through the dark times. It has become a friend of mine, motivated and inspired me, created happiness where there was none. It has been a gift, a treasure I hold dear. Music is something that has never turned its back on me though humans have. I sometimes get lost in the music and it is hard to find my way out. There is something about music no human can explain.

Do you agree that music is all about fantasy?

It depends on the way you think about it. Sometimes the composers could have been off in a far land while thinking of the notes they are putting together to create a masterpiece. But when it comes down to it, Bach knew what music was and that is mathematics. Form, and other parts of theory are used to create most works. Now there is genres like Nocturnes, fantasy’s, and improvs ext. that are there for free expression and the “fantasy”/imagination to be used.

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

I’m currently not a professional (as in paid), then again what is the definition of a professional? Though I may be a professional composer/musician one day. If not I also like Business as a topic.

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?

A lot of movies have been putting classical works like Beethoven’s 5th symphony 1st mvt, 7th symphony 2nd mvt, Mozart’s 21st piano concerto 2nd mvt, A little serenade (night music), things to that extent into the backgrounds of famous movies. I expect that to continue, while new composers come into the mix, and take the industry by storm. It is going to take a lot to take the genres of Baroque, Classical, and Romantic down. They’re not going away anytime soon.

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?

Maybe that new composers are being sought, or that new ways of composition/theory is being sought to keep people on their feet/interested.

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

It depends. I’m still with Mozart “Nevertheless the passions, whether violent or not, should never be so expressed as to reach the point of disgust; and music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music.” I feel Beethoven was a bit right when it comes to the exploration of form. Though as Mozart put it and I agree you should not be over creative so much to create disgust. I do not try to be too creative, I try to compose works that are pleasing to the ear, harmony is one of the greatest gifts we were given.

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

There is no real way to do so in my opinion, most people at these concerts are middle aged or older. I for one am young myself. And one of the only reasons I found my passion for classical music is because one day I was very depressed, and I popped in a c.d. of classical music, and I got to a track entitled Mozart’s 4th violin concerto 1st mvt. And it was like I had never heard or felt music the way I did that way over 6 years ago. And I knew from that moment that there was happiness in life, and music brought it back. Mozart brought it back. Maybe if we were to make a connection with the music more often, get the younger people to connect with it that may help. See the reason we like any music is we connect with it.

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

I’ll sit there and think, a lot. And I mean a lot. I start pieces all the time, but I do not finish all of them. I would say it would be a tie between My second piano concerto, and my Viola sonata (though the joke piece I recently composed isn’t too far behind). The reasoning for that is because they are two of my most developed works, I am always learning. And also, because they made a special connection with me. It was mid-June this year, and I started composing the work set up for 2 oboes, 2 horns, solo piano, and string with the second mvt switching the oboe part for 2 flutes. And I composed the theme A for the 1st mvt, and I found out my mother had been diagnosed with cancer, and I let that effect the second theme. But in the second mvt was dreamy to express the fact it seemed as a dream, then the third was a peppy mvt to express I knew it would be okay. It was completed in three weeks, and is one of my best. Then the viola sonata was composed to commemorate the removal of the cancer, and dedicated to a friend of mine who plays the instrument, who composed a work for my mother.

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?

It’s an excellent idea, arts go together better than people know. It takes an amazing eye, ear, and brain to pair a picture or a video up with the correct music.

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

Well, I personally started with Mozart, so I would tell anyone to start with him. Him and Haydn were the two top composers of the Classical era for sure. And Bach, and Vivaldi for baroque era, and Beethoven, Chopin, Mendelssohn, Tchaikovsky, Hummel (lived in the romantic era composed classical) Liszt, and Schubert for Romantic. I would tell them not think of it as such a boring subject, there are plenty of works that are exciting, goofy, peppy, plenty that are angry, mad, and sad, and plenty that are mellow, and beautiful. There are so many emotions that could go along with what you feel if you open your heart and mind up. They also help you study! Mozart’s K 448 has been studied and proved to increase your IQ while listening to it known as the “Mozart Effect!” And I would let them know music also heals, which it does!

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?

In all honesty the world has indeed become very greedy, but it has always been like that, Mozart, Beethoven ext… They all needed to make money to live, and orchestras are all in the same boat sometimes. In truth we all need money to exist, and continue doing what we love. The problem is when you over charge. And I see that happening on sheet music websites. I don’t feel like classical music is getting into the consumption business as much as popular music is. Classical tickets in my area sell for $30, that’s a huge difference between a lot of the popular music tickets selling for hundreds even thousands of dollars.

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

Not really, though I compose inspired by Mozart, and Beethoven. Anyone can enjoy my works no age, wealth, ext. required!

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

I’m always starting, and stopping random compositions or finishing them. I’m currently composing a bright piano work. I try to only experiment with preset forms, and I am inspired by classical, and romantic era composers so I tend to try and stay in their guidelines

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Posted in Piano and tagged contemporary piano, Fantasy Notes

October 3, 2017

What does music mean to you personally?

Music is, in my eyes, a wonderful language of love for others. It is shared from heart to heart, it is all made up of emotions, impressions and feelings.

Do you agree that music is all about fantasy?

Fantasy is an essential part of music, It opens the doors of freedom.

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

Only musician !

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

This is one of the consequences of the cultural abandonment in which the world has been plunged for several decades. Much of the youth consumes music in a “Kleenex” way as if all things were ephemeral, devoid of roots. Fortunately, classes in conservatories and music schools are frequented by another part of the youth who want to learn and play classical music. We must also favor the “classical” music of our time.

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 is always difficult for composers to be heard and appreciated by their contemporaries. The 21st century does not escape this observation and it is a pity. But I think that our century can and must make room for new classical music, especially by promoting the dissemination of works of contemporary music.

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?

In my opinion, it is the marriage of the two. On the one hand, classical music must be used without complexity of all current technologies, therefore all new ways that favor the creativity and the widest possible diffusion. In the same way, it must also adopt a new face, closer, more accessible, less rigid, more human, more sensitive and above all, less elitist.

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

Creativity is the essential quality of the composer. It is the essential breath of freedom that the composer must know how to use with talent so that his music touches the receptivity of the listener and better, surprises him to seduce him afterwards.

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

This is an important question, which leads to complex answers that can not be developed in a few words. On the other hand, as I have already said, in a hyper-mediaized society, part of these responses lie in education, but also in the dissemination of classical works by the media in a way that is uncomplexed and accessible to as wide a public as possible.

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

It is difficult to answer this question because the creative impulse does not correspond for me to a fixed process. Creativity is not controlled; it is often imposed when it is least expected; I think we can talk about “inspiration”. As for quoting a favorite work, it’s just as difficult, because I’m never completely satisfied. I would say: the house of Monfort-l’Amaury; I heard this music coming into me just after visiting the house of Maurice Ravel in Montfort-l’Amaury.

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 love these artistic combinations. Being myself the son of a painter, Pierre-André de Wisches, creator of subconscientism in the mid-1960s. I participated as a composer in a pedagogical project with the conservatory of HYERES in France, which featured my father’s canvases, chosen by the students and the music I composed especially for each painting. I also think it’s a very good way to spread classical music.

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

The advice I would give young people to discover classical music is to open not only their ears but also and especially their hearts.

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 still have a lot of difficulty comparing a work of art to a consumer product. But it is true that to want to ignore the profound transformation that has undergone and continues to suffer our world of consumers “connected”, “connected”, is a bit like wanting to continue to light with candles while has electricity.

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

My expectations are those corresponding to the greatest possible sharing.

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

I have many projects in progress, including a trio suite. Music for a documentary, a work for a set of clarinets and compositions for piano. Experimentation is inseparable from each new composition; it constitutes the essential part of the evolution of musical language.

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Posted in Piano and tagged contemporary piano, Fantasy Notes