- Part of 'A topology of musical encounter' (summary) -
The conceptual binds the material and the personal in music, and plays a central role in our analysis of connective dimension. Because of the strong reinforcement that conceptualistics provide for understanding the musical significance of other aspects in the personal musical sphere, a connection between musicians on this conceptual level seems to have strong chances of working out into a successful musical collaboration.
“Essential for me is atmosphere and sound. This atmosphere in the music appears at the moment itself, related to my mood of a particular moment. When composing I try to reduce the headwork as much as possible and relate to the sounds intuitively. I have set-up my electronic instruments in such a way that this process can take place immediately without too much technical steps in between. I never start working with a preset structural idea about the music. From this one-on-one relation between me and the sound develops a flexible and playful creative process. It is an improvising way of composing.“
- in conversation with WOLFLOW , DJ and producer
This information could be signified personalistic and conceptualistic at the same time. His explanation of intuition touches closely upon his way of living, his experience and approach of daily life. At the same time he found the means to put an intuitive attitude centre stage during musical creation. His view in this matter reminded me strongly to what Marius van Paassen explained about his compositional process:
“When you are in nature you know there are birds, but you don’t know when they will sing. I am somebody who feels comfortable with this awareness. The melodies and harmonies that I compose originate in my intuition. My compositional process is comparable to the ‘ecriture automatique’ of the surrealists. You start somewhere and in some sequence it continues. My process is usually slow, I write a few phrases in a day. And then one day in a certain mood it can suddenly develop very quickly. At any moment a flash can enter my mind that makes me change direction completely. That a piece stays in a mood it has started is also a result of intuition, it is not a preset idea. With every barline the question rises again if it is beautiful, if it fits, if it is real. My start and end is sound. Only the reality of sound guides my intuitive decisions. “
- in conversation with Marius van Paassen, pianist and composer
Here we touch upon a little pearl in the field of collective musical realities. These two men have an almost identical creative process - they work with a similar musical understanding on completely different musical materials. Through such a connection there is a serious reason to bring together the conflicting soundworlds of electronic underground and classical-romantic pianism. What should be clearly understood is that I would never bring together those musical cultures as a cross-over experiment. In our approach to collective musical space such an encounter between ‘styles’ only becomes interesting because the connection between these two independent musicians is convincing, and actually rises the belief that when we would closely work together the tight rhythms of WOLFLOWS electronics and the rubato of Marius pianistic virtuosity would indeed work out well together. Clearly we approach these qualities not as mere characteristics of a style, but the stylistic qualities as elements of the personal musical reality.
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