Photo by Michael O’ Neal
Most children hate piano lessons. But not NILS FRAHM. For seven years he was taught to play the piano four times a week and he loved it. Maybe it was his teacher, Nahum Brodski who was one of the last students of legendary composer Tchaikovsky, who sparked NILS FRAHM‘s passion. It definitely paid off for FRAHM. Ever since his highly acknowledged 2011 record Felt, his fan base has been growing. Last year’s album Spaces proved his appeal yet again.
FRAHM, who works both as a composer and producer, has developed an unmistakeable sound by combining the classical piano, analogue synthesizers and unconventional devices like toilet brushes.
NOTHING BUT HOPE AND PASSION met him at Volksbühne Berlin before his show at the stargaze presents festival which took place from February 14-16. Although he has lived in Berlin for several years now, his Hamburg accent gives away where he is from.
‘Stargaze presents’ was created on André de Ridder‘s initiative. Did you know him before?
I knew him for three or four years and there was always a friendly exchange of ideas between to two of us. We had other plans as well, and I thought stargaze presents would be a nice reason to look what musicians he rounded up. For me, it is interesting to collaborate with people who are in tune with me so that I don’t have to play the dictator and check everything twice. André is somebody who understands both the scene where I’m coming from and the language of classical musicians. He knows how to translate certain things from one world into the other.
Recently BRYCE DESSNER told us the same about André and that the Germans in general have a certain openness for this kind of music. Do you agree with that?
I would say that you have to differentiate between the audience, the fans and the organizers or rather the promotion of culture. It’s clear that in Spain you won’t get money from the state to organize a big orchestra project right now. I also think it is difficult to talk about countries. We should talk about cities. If a city has no promoter who is interested and works in that vein, a project like this is not possible. Another problem is that classical promotion of culture is often limited to conservative subjects like Wagner, Mozart and Bach or opera and ballet. If the sponsors hear the word ‘electronic music’, they put a big padlock on the promotion funds. Because this is ‘popular music.’ When they’re right, they’re right.
Photo by Ryo Mitamura
You’re a good example attesting to the fact that the combination of electronic and classical music can work well. Your worldwide fan base proves that. How important is it for you to get feedback from your fans?
It is always good to be in contact with the fans. They enable me to live the life I have and play my concerts and I appreciate that. Of course there is a limit, when I need some rest. But when I play concerts I always enjoy getting to know the people and most of them are really charming people. The encounters are very kind and loving and that motivates me to carry on.
And you are giving a lot back to your fans. When you turned 30 years old, you gave them the possibility to download your LP Screws for free and 2013 you recorded the live album Spaces which contains pieces you created by improvising in front of an audience.
Yes. They are on the record, to show that I would be nothing without them. Without the ears of the others my music wouldn’t exist. Acknowledging that fact you should always try to develop something in consonance with them and never act arrogantly. That doesn’t mean that you always have to conform to the wishes of the fans but it is worth it to listen to them and to find out what they think and what they like.
Speaking of wishes, are there any musicians, performing at stargaze presents, you would like to collaborate with?
I really like THE BELL LABORATORY and PANTHA DU PRINCE – I have seen them live several times. The line-up that is presented here is definitely top-flight. There is no musician or band whose music I don’t like. Collaborations are great, but at the moment I rather work on my own. In the past I worked a lot with and for others and now I have reached a point, where I am comfortable with some things I try on my own.
At the event you will interpret In C by Terry Riley. What significance do Terry Riley and the composition In C have for the world of music?
Terry Riley was a part of 1964. Musically, the mid-sixties was the most important time of the last century with so many radical things happening. In C was performed before the masterpieces of Steve Reich and Philip Glass and I think Riley’s principle of playing patterns with real musicians inspired both of them. At the same time there was the trend, to do tape loops and such things with a computer.
In C is a festival classic and the musicians really enjoy it. There are notes but they are very reduced so the artists have to create most of the things on their own while they are performing. For classical musicians this is very unusual and that’s what I admire. This idea to give those classical instrumentalists, who are often ‘slaves’ of the composers and conductors, a voice and the possibility to play what their hearts tell them. There should be more of that because that’s where it comes to life and where it becomes magical because the people start to approach and to improvise together. And when musicians improvise together, there is always something happening, which really touches me. That’s what I love about people.
You improvise and experiment a lot as well. How do you know when a piece is finished?
Pieces always have a life. They change in the ear of the listener. When I write a piece and listen to it again after three years, then it sounds different. Because my ears and the way I hear things things are changing. So a piece is never really finished, but that’s good because if something is finished, it arouses uneasiness. Things that are finished also mean parting with them which is kind of sad. I like it when things are uncompleted. I want to leave some space for the listener and invite them to participate.
How is a composition born in your mind? Are there certain things you draw inspiration from?
Mostly I sit down at the piano in the morning and see what happens and try not to think too much. I like to take a close look at scientific or academic subjects and I enjoy reading. I am very curious and some things I experience and hear I just go into my heart and give my an idea. For me music comes from music and the music I write is both a mixing of own initiatives and a mirror of the music I listen to.
How long do you play the piano daily or weekly?
I’m not that dependent on the piano, as people might think. I mean I love the piano, but I am not piano-obsessive. For me it’s more about the sound, the music and the emotions. The piano is an excellent means to convert my ideas and to try things but there are also times, when I sit at the computer for weeks or at the tape recorder mixing and composing electronic music.
‘Stargaze presents’ will take place at the Volksbühne. Do you think this place is the right choice for the festival?
I really like the program and the concept of Volksbühne. It is definitely the most exciting of all Berlin theatres and the appropriate location for stargaze. I love this building. It has an incredible and unique ambience. Besides it calls the history of this city to mind and the people working here are just great. One the one hand it is splendid and tasteful, on the other it is rock’n’roll. And that is just what stargaze is about.
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