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“When you remove these structures, you start to hear all the complex sonorities that the piano is capable of making, sonorities that you would never really notice if there was, say, an active melody occurring that draws your attention away from them.” — Quentin Tolimieri > read more
“I see the challenge in balancing words and sounds, so meanings stay undetermined, fragile, and on the edge of disappearing.” ーMarianne Schuppe
“After many pieces, you think you know how to do things, but then you realize that every experience is different, you have to stay open.” ーDeborah Walker > read more "His (Adrián’s) music fascinates me for the power of the emotions it produces through apparently simple structures that, in fact, reveal very complex and well-ordered mechanisms." ー Manuel Zurria
"I am sincerely fascinated both by Manuel’s performance skillsーprecision, beauty of the tone and the overall musicianshipーas well as creative solutions." ー Adrián Demoč > read more "Since my music is deeply tied to my surroundings and inner life, I generally want to create a space/environment with my music where people can experience a sense of ease and wonder." — Maya Bennardo > read more
“I only write what feels true to me.” "I have been working so intimately with my instrument that we really have melded into something else entirely." — Laura Cetilia > read more
"something that is constantly changing, while at the same time—and maybe somewhat paradoxically—evoking stillness." — Samuel Reinhard > read more
“Whether I'm singing in Japanese or English, even when the meaning of the language is lost, I always make sure that the sounds I'm making are my own words and my own voice.”— Shoko Numao
“Meeting Reinier was a stroke of luck for my music. The slightest movement in musical feeling is immediately reflected in his body, and at the same time, it becomes audible in the sound.”— Jürg Frey
“Rather than feeling emotions while playing, it's more like sleepwalking towards an experience that only takes shape when you have finished the piece.”— Reinier van Houdt > read more "I was particularly interested in the roughness of sounds, acoustic beats and combination (resultant) tones. These tones do not exist physically, they are produced by the brain: we hear them inside our heads." — Giuliano d’Angiolini > read more
"I’m extending an invitation to momentarily be still and to just listen—to notice the small things that swell at the periphery of our attention when we reduce the density of inputs and settle into slower temporalities.”
— Samuel Reinhard > read more “I like this idea (of piano versions) because it represents my music in a more “naked”, different way. It’s as if we have versions of the same artwork painted in colours but also drawn by pencil.” – Adrián Demoč > read more
“My music is not very rhetorical, and certainly not dramatic, but in the background these emotions sometimes lurk, and in Keiko’s playing you can sense them.” – Jürg Frey
“We talked about a lot of things and really felt like we were creating a sound from scratch together.” – Keiko Shichijo > read more “The breath of pipes, the growl at the very entrance of a note, the richness of sound of a single pipe…
these have been eliminated in later organ construction, but are everything that draws me into its sound world.” – Ivan Vukosavljević > read more “I see scores ideally as invitations to explore a world, gather experiences there and then start balancing the music with the intuitions of your body and mind.” - Reinier van Houdt > read more
"When I work, I think I have something like a mental and emotional power in the background - not ideas and not a concept - and this power leads my work." - Jürg Frey > read more
“We tried to find the perfect balance of tension and release, of consonance and dissonance - all this forms a very suspended feeling albeit the inside, the core of it, has a warm soul.” - Giovanni Di Domenico > read more
"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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