Heard anew: Francesca Verunelli - Elbphilharmonie Mediatheque

What inspires you as a composer? What role do non-musical factors play?

Listening to music affects me deeply and always has, it is one of the earliest memories of my life. The endless power of sound to convey something of our humanity and to connect us with others never ceases to amaze me. There is something in sound that irresistibly draws me in and compels me to explore that particular emotional response, to allow it to come alive.

It is impossible to say what role non-musical factors play. As an artist, I am completely shaped by my life experiences. I am a filter of the world, just like any other human being. So, when I create something, it reflects how I belong and how I filter the world and the life around me, and in that sense it is very political. But I believe that music can and must touch the mystery of life and death – it is not, and should not be, an intellectual demonstration or something abstract.

Do you already have a strong vision of a work before you set about writing it?

I cannot write anything unless I have that vision. I would describe this vision as both very strong and very obscure at the same time. Although it provides a clear inner sense of what the piece will be, it demands a great deal of effort to find and realize.

How would you describe the sound of our time?

I think the sound of our time is more about the experience of listening and how it is perceived by the listeners of today. Music is much more than an artifact in itself, and historical or aesthetic categories don't truly say anything about what music does for us and within us. Music reflects our contemporary humanity more than anything else because it carries things that cannot be expressed in words, yet still represent us powerfully.

What does contemporary music need to do to win the public's favour?

Nothing at all. There is no need for a specialized audience. Any listener, regardless of their musical background, is a good listener if they approach the concert with an open mind and are willing to venture into the unknown. However, any music – even, and perhaps especially, music from the past –should feel unknown in order to provide a true listening experience.

What would you want the audience to know before listening to your work performed at the festival?

From my side, they don’t need to know anything – just to experience what the music creates in them. Of course, sometimes knowing something about the creative context of a piece can help people feel more comfortable when listening. In the case of »From scratch«, there is this idea that within any »noise« there is already some hidden harmony. »From scratch« means starting from nothing, but it also refers to the piece beginning with the sound of percussionists scratching the metal surface of an instrument. This piece attempts to subvert what we perceive as »noise« as opposed to »harmony«, shifting seamlessly from one perception to the other and back again.