Lors d’un «post» concernant le Motives Festival qui se déroulait à Genk entre le 15 et le 18 novembre (et en attendant un article plus complet à paraître sur Citizen Jazz prochainement) j’avais écrit quelques lignes à propos du concert de Lola Perrin.
Souvenez-vous, c’était ici .
Concert hypnotique et fascinant qui avait emmené le spectateur dans le monde assez personnel de la pianiste.
Par bonheur, j’ai eu l’occasion d’échanger plusieurs e-mails avec Lola Perrin, et de discuter avec elle de sa manière de travailler.
Et vous me connaissez : quand j’aime, j’en parle et je partage.
Voici, juste pour vous (et avec sa permission), une mini interview qui s’est dégagée de nos conversations...
C’est en anglais, mais je suis sûr que ça ne vous posera aucun problème.
... by the way, how do you work?
I remember emotions that move me, either a conversation with one of my children, a feeling I get from looking at a painting or other art, a feeling after an interaction with another person (for example : the story of the old man. Click on LolaSpace and see the short story from October '06)
...then when I go to the piano I keep moving my fingers until I get a combination of notes that brings that feeling back. Then I work with that musical idea and develop it.
A project can take 6 - 8 months sometimes, and I get 30 minutes of music. It is very difficult for me to keep ideas, it takes me a long time to find the right direction for a work.
Do you compose before viewing images and editing?
Film directors come to me and say "I am going to make a film for your music". But I do not say yes to all of them, I am selective and only want to work with the best.
This summer Phil Maxwell & Hazuan Hashim gave me a film that Michael Nyman had used - they wanted me to write for this film. «East End I». So I wrote the music very closely to each image. It only took a couple of hours, I was very inspired by the photographs. I have loved this film for 3 years. But this process is unusual for me. I am more interested in just writing for the piano, then let the filmmaker take the music.
I went to school in Switzerland, there were big windows in music room overlooking the valley and I played the wonderful piano there watching the clouds rolling in and out of the valley, the weather and light changing a lot and the storms coming and going. Now, when I play to the films on stage, I guess I am back in that same situation of having a window to look at.
The director edit his film on your music? Or do you work sometimes together?
In «The wind is older than the world» Mahesh Mathai and I "collaborated". This means, we talked a few times before I wrote the music, and while he made the film. We had some ideas and shared them before we worked individually.
Do you work only on solo piano?
Yes. I wanted to develop a very unique approach and keep it as concentrated as I could. I am not diverse, I like to specialise. However, I am now going to performing a work for 2 pianos with my brother, composer and pianist (!) Roland Perrin.
Here's the press release:
«March 15th, London's South Bank Center. Lola & Roland Perrin will world premier a new piece for the 2-piano repertoire, G Mass by Lola Perrin. The work takes haunting themes from Janacek's Glagolithic Mass (1926) and transports them into a virgin territory where Classical Minimalism meets Jazz Improvisation. This will be accompanied by a new projection from The Gray Circle.»
Did you play before with other musicians? (Duo? Trio? Symphonic Orchestra?)
Yes, I had a band a few years ago. I was not happy doing this. A big problem was transport, trying to work out how everyone could travel to the gigs, my responsibility as it was my own band and music. Really boring problems! I also quite like isolation, playing with other musicians felt like I was a circle trying to fit into a square, it wasn't natural to me.
Did you plan to do it again one day?
I am asked regularly. I always say no.
As you see, I'm a little bit curious... ;-)
An interview is coming out at some point by John Eyles. I have been reviewed quite a lot - but this was my first long interview. We talked about a lot of things. It's very nice to be asked questions - not for the ego, but because I have been working for a long time alone at home (10 years) to develop the music.
I only started to play it in public in 2003 - after I thought the music was ready.
I knew it was ready when I worked with Brian Eno for 2 weeks - when I listened to his music and then mine, I began to see that my music was of a good standard and maybe I was ready to start playing in public.
The first concerts were very, very, very frightening. To expose myself alone on stage with new compositions. To be honest, the first time I have played and not been nervous was at Motives - so I think I am now experienced enough to really begin to perform well on stage.
Voilà, il ne vous reste plus qu’à aller l’écouter en concert.