Jean-Patrick André





I was born in a family of artists. My father was the painter Pierre-André de Wisches, creator of the movement "subconscientism" and my mother was a good pianist. Classical music has always been present in my life as a composer, but also in my everyday life. But what is classical music? I have often asked myself the question of the limits which this appellation might imply. The definition often admitted is that of learned Western music; thus written, which covers the period from the eighteenth century to 1820, at the moment when the romantic music made its appearance. Follow the post-romantic, impressionist, modern, contemporary music and cover all genres and musical currents. All these musics are part of classical music. That is to say how much the term "classical" which may appear reductive and in fact generic of a multitude of musics. For my part, I think that music is universal and timeless, that it must free itself from the dictates of fashion. It is music when it comes from the heart and addresses the heart; in this, it can only be deeply human and it is this music that interests me as a creator. It is also the one I love and want to share. I had as masters: Eugene Reuchsel and André Millecam who gave me a teaching loving freedom. Both are now dead, but my gratitude is eternal. Bach, Chopin, Schumann, Debussy, Koechlin, Ravel, Rachmaninoff, Scriabin, Korngold, Poulenc are the most important composers I love.

French composer, I play the piano on which I like above all improvise. I am also an author. My compositions are for piano solo, but also for trio formations, also with voice and for instrumental ensembles with strings or with wind. I also compose compilations for young pianists. In fact, everything interests me in music. I particularly like music when it comes to painting.




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.