Interview with Marta Dolzadelli (April 2018)
Welcome to the Neuguitars Blog. I have the pleasure to know you and your music from a long time and I was impressed by the cd “ Rites & Shades guitarworks by Kai Nieminen”, how did start the idea to release it?
After fingering, editing and premiering it in Milan (Munari’s hometown) I liked the idea of closing the circle and recording this challenging and fascinating composition that I really feel mine. I also believed that recording it could provide the ideal condition to enhance the ethereal character of this piece.
How did you meet Kai Nieminen? This is not the first time you played one of his pieces, I remember “Images of Fear” dedicated to Paul Klee….
Yes indeed, I have been in touch with Kai for quite a while, since I recorded his composition Images of fear (inspired by a painting by Paul Klee) in my album “Frames”. Then Marco Ramelli and I had the chance to meet in person when he came in Milan to talk about his music at the Conservatoire.
One of the things I like about this cd is the interplay between Italy and Finland. I know that Patrik Kleemola is used to visit our country and that Marco Ramelli is used to play in Scotland, but how did start this collaboration between Italy and Finland?
Italian literature, art and culture have inspired many compositions by Kai (as an example, the piece “Omaggio a Munari” that I recorded in this cd is an homage to an important Italian painter) so it is not a surprise that he decided to create a connection between Italy and Finland, not only on an ideal level but also asking four different musicians with different backgrounds, culture and sensitivity to perform his music.
In this record you play a piece titled “Omaggio a Bruno Munari”, well..I was not surprised about your choice .. I remember that in your first record “Frames” you played “Im Nebel” by Marco Ramelli, dedicated to Kengiro Azuma… it looks like you have a feeling for particular artists…
Yes, actually I am very fond of modern and contemporary visual arts. I am really fascinated by these two extraordinary artists, both based in Milan but so distant in terms of culture, education and poetry. However, both could be defined as sort of all-around Reinassance men, involved in all kind of visual arts but also education and poetry (Munari) and deeply influenced by zen philosophy and devoted to sculpture but also to poetry (Azuma).
What does mean improvisation in your music research? Can we go back to talking about improvisation in a repertoire so encoded as the classic or you’re forced to leave and turn to other repertoires, jazz, contemporary, etc.?
I think that improvisation (not in the strict sense of the word) could be found also in classical music For me improvising infact means exploring different options, experimenting colours or dynamics, or stressing particular notes instead of others while studying.
What’s the role of the “Error” in your musical vision? For “error” I mean an incorrect procedure, an irregularity in the normal operation of a mechanism, a discontinuity on an otherwise uniform surface that can lead to new developments and unexpected surprises…
“Error” in music as in every other aspect of life can play a key role if it is a mean by which people can learn and improve their knowledge, being an active part in the process of knowledge. I think that the role of the teacher is crucial in helping his students to reflect upon this matter and consider the error as something inevitable but source of knowledge and awareness.
And what do you think is the “function” of a moment of crisis?
I like recalling the Greek word krísis which has the meaning of separating and then in a more abstract way, judging. I think that it is in this very moment that we can truly reflect upon our life and our choices as people and artists, and then decide which way to go.
What are your next projects? What are you working on?
At the moment I am playing in the guitar ensemble Corde d’autunno, a project born in Milan and connected to the homonymous guitar festival. This year we are working on a programme entirely dedicated to Ravel and Debussy, playing a selection of transcriptions by our conductor, Paolo De Lorenzi. This project will also be part of a cd, whose tracklist will be shared with the duo Dieci-Ramelli. Alongside concerts, I am also engaged in teaching to my high-school students in Magenta, near Milan.
Four years ago, during another interview I asked you about the J.P.Sartre’s three questions about literature: Why do you make music? And again: what is the place of those who make music in contemporary society? To what extent can music contribute to the evolution of this society? You answered me: “I think that music arises from an inner need of man, from an innate and partly mysterious creative drive. The musician in my opinion is the one who decides to share this expressive need with the audience in a sincere manner, accepting the challenge of catalyzing the beauty and the complexity of life through its own instrument. I believe that strictly complementary to the role of performer is that of teacher, essential to help an increasingly disoriented audience in front of the complexity of today’s soundscape, as Schafer would have said.” Do you still believe in these words?
Yes, I am still deeply convinced of these words.
Last question: a few years ago, during an interview with Bill Milkowski for his book “Rockers, Jazzbos and Visionaries” Carlos Santana said, “Some people have talent, some people have vision. And vision is more important then talent, obviously.” I think all of you have a great talent, but … what is your personal vision?
I think that talent is a gift, while vision is a realization, is that very inexplicable moment when you realize that music will always be part of your life, is an inner force that makes you go ahead with your projects, no matter what.
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