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"In my compositions I often strive to provide the players with a sort of biotope for the given, (rather) abstract material to occur, develop and move in an organic way." - Germaine Sijstermans > read more
"I started thinking, if I could eliminate as many of these structures as possible, I could start hearing these sounds more clearly. Almost as if, if I could remove the language, the syntax, the grammar, etc., I could hear the actual voice (of the piano).” - Quentin Tolimieri > read more
“I wanted music that was close to ‘something natural’. Evolution of the melodic lines at several speeds, in other words, independence between each other, no voluntary sound event, no climax, no drama, everything could appear as accidental.” - Barbara Dang
"It feels natural, halfway to the singer just singing to themselves." - Michael Pisaro-Liu >read more “This co-creative process is something that many of us classically trained musicians have forgotten to develop during our scholastic education, an education that is mostly oriented on reproduction and not on creating art work.” - Guy Vandromme > read more
“I think of the harmonic content in the piece as living within a fragile, yet also curious sound world.” - Jordan Dykstra
“I, for one, like to think of harmony as color rather than function or structure.” - Koen Nutters > read more “It is loose, airy, but at the same time, it is connected.”
“A vibration in the air happens when I write the note. This is the sensation of writing. And I try to avoid composition as long as possible.” - Jürg Frey > read more "By using minimal thematic materials and small shifts of articulation, all in a free time-signature environment, Scelsi offers a platform for the pianist to play with the gravity points, resulting in an internal logic of syntax and meaning." - Shira Legmann > read more
"A melody is like walking, going from one place to another, without carrying a heavy bag. Just the necessary things, a few tones are enough to make the walk..." - Anastassis Philippakopoulos > read more
“Here we have two artists who are meeting each other at some common middle ground, without losing our identity one bit, but ending up with pieces that would have not being what they are if we didn't set to meet each other halfway.” - Gil Sansón > read more
"I think the question is not ‘how to get it’, but ‘how not to destroy the openness’ when we compose." - Jürg Frey > read more
“In order to form a whole, you have to be simultaneously with and without the rest of the elements.” - Clara de Asís > read more
"These silences are soon getting replaced by something else: by the sounds from before, by the sounds in expectation, by thoughts." - Stefan Thut > read more
related interviews on other media
"I would be the first to recognise that emotion is the goal sought in art, and the works to which I return are those which provoked an emotion in me, at the first hearing. But this emotion can have very different aspects; I think that the mechanism that leads to a specific emotion is a complex phenomenon that escapes the artist’s control: it is a matter of the present moment, of cultural heritage and of the listener’s state of mind. What concerns me in the first place is to bring out the music that occupies my mind, as sincerely as possible, as directly as possible." - Melaine Dalibert > read more
"I would not dare to make a connection between my literary affinities and my music, but I was fascinated by romans of Proust, their extraordinary tangle of events like his style, which makes us feel singularly all the complexity of what we mean by "time". - Melaine Dalibert > read more
"It all came together naturally, where we would get together and pore over lyrics and ideas and then go back to our home studios and put things down. Looking back at the finished songs, it’s often quite hard to know who contributed what in many cases. Which was sort of what we wanted it to be.” - Robyn Jacob > read more
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