JOSE BONET
Interview conducted by Virginia Tamayo & Jorge Munnshe
Jose
Bonet is a pianist and composer with a solid artistic talent, which can
be appreciated both in his live performances and in his soundtracks.
The author of over forty piano works, he has known how to develop his
own style, between New Instrumental Music and the most romantic side of
Classical Music, which places him as a true heir of the trends of
composers headed by such people as Max Steiner, Alfred Newman or Victor
Young, who tended a bridge between melodic Classicism and Cinema,
building the language of symphonic soundtracks. The Classical
background that Bonet has (he studied music notation and piano at the
Conservatory of Valencia) gets united to his special talent to create
well defined melodies with an unusual sensitivity, a talent that has
been very useful to him when composing soundtracks for TV and for
infomercials. Bonet has performed his music before prominent audiences
and events, as for instance, the Cycle Mare Nostrum (2000), the City of
the Arts and Sciences (2004) or the Palau de la Musica of Valencia
(1999 and 2001), among others.
We begin the interview asking him about how his relationship with music
started. "I can't recall a given moment, yet I have this feeling of
having been moved since my early childhood with any musical instrument,
and especially with everything ressembling a piano keyboard. After
having played all sorts of musical instruments for children, I got a
"melodic", a wind instrument with small buttons that simulated a piano
keyboard. Due to my poor health I had to invent some sort of homemade
organ which was my great passion. I sheathed an old fan from my
grandfather's shop into a plastic bag, tying the other end of the
"melodic", in such a way that I set it in a horizontal position and
simulated my great harmonium. The fan was so noisy in fact that I could
hardly hear the music I so much desired to hear. I used to give small
compositions to my family, but I never got a great deal of enthusiasm
for them. My passion to listen to the harmoniums made me discover all
the churches that officiated with their organs, as well as Bach, a
world of sounds that drove me in an uncontrolled way towards music."
With respect to the musical influences from other composers that
somehow may have marked a path for his style, he comments: "I have
never believed in myths, nor in the great masters, and I think that the
music one feels a greater passion for is far from, I don't know why,
what one makes or expresses. This contradiction has a double sense, you
don't do what you think you should do, which has a certain degree of
frustration, yet, on the other hand, you do feel the tight
relationship between what you say and what you are, although on
occasion what results from all that doesn't quite please you."
The labels linked to given musical trends are not importamt for him
when it comes to making music. "I have often wondered which kind of
music I like doing, and truly, as I once before already said, I think I
don't really know, so I always answer that I create a music of my own
times, which is the same as saying I can't do a different kind, and I
admit that, throughout the years I am feeling more and more identified
with it. I may have felt the need to play with the classical patterns
and try to break them, yet I have always had a clear premise. I must do
a kind of music that is simple, and as beautiful as possible, following
the maxim "Most beauty, in a minimum of notes".
As he tells us, the process he usually follows in order to compose is
not very different, on the intellectual side, from the one typical for
many writers. "I really believe that with music happens the same as
writers say of literature. You must sit on the stool every day, whether
or not you feel like it, and look at the keyboard, start working and
let emotions, discipline, inspiration flow, and all these things
together end up with music. You may sometimes look for inspiration,
whereas at other times you may just find it without looking for it, yet
you must live with the piano so that the music never abandons you".
He
has a rule he has always followed ever since he was a child for
composing: "I never write an idea or a musical fragment just in the
very moment it comes to my head. My filter to determine what may turn
out to be interesting or not (for me) is the fact that I remember it
during several days. I shape it, I work on it, and then I okay it and
write it. I may have an excessive confidence in my memory, maybe as the
years go by I will have to change my technique".
Inspiration, or whatever motivates him to create, comes to him in
several ways. "I have composed from different viewpoints, yet where I
feel really comfortable is when I pursue emotions among the piano
keyboards. At other times I like painting a landscape with music, or a
castle, a city, and above all, I love giving expression to memories".
"Entre ayer y hoy" ("Between yesterday and today") is an album where
Bonet has given expression to his most personal ideas. The release of
this CD was accompanied by a ceremony of presentation of the CD at the
prestigious Palau de la Musica of Valencia, an event that included the
performance of the artist. Throughout 13 pieces, performed only with a
piano, Bonet shapes an exquisite collection of melodies, rich in
romanticism, with a wide emotional range going from melancholy to
festive airs. Although he is nourished with Classicist elements, the
composer provides his tracks with an agile development, free from
constraints, which relates to the public at once.
We ask him about the stage that his album "Entre ayer y hoy" covers in
his life. He didn't compose it in a given time, but it rather gathers
pieces created in different occasions. "This album covers many years
and different stages, yet there wasn't a pre-detemined criterion to
choose the tracks. It was practically a live recording due to the
scarce time the Auditorium had, and though I did select the program
thinking of the recording, I was more driven by the music I had
recently composed rather than other older themes, and which, in my
opinion, today, complete my style much more. Well, I think that right
back then, as one of the titles of my themes says, I believed that was
the most suitable choice way then."
He tells us that the track "Entre ayer y hoy", the one giving its name
to the album, was very important for him. "Its creation refers to a
really important event, and I promised to name my first CD with that
song. This is the reason why it is called like this, as a kind of
dedication".
He admits that all the titles have a great identification with the
music they represent. "There is always a deep connection between the
music and the name of the theme".
He is aware that the music reflects the personality of the one who
creates, somehow or other, aside from the fact that the composer tries
to use the music as a way to make sound stories. "I think that one is
defined by what one does, by what one feels, by what one expresses. In
the field of literature it is said that occasionally it is more
important the way how one idea is expressed rather than the very
meaning it has, though this is not always true. All musicians have the
same notes within our reach, the difference lies in the way we relate
them and how. I believe that no one can help leaving their own trail
even in the most impersonal of musical stories".
We ask him whether, besides the kind of music he has shaped in "Entre
ayer y hoy", he composes or has composed music of different
orientations. "I obviously am my worst critic, as everyone is, yet I do
think that, within the evolution I have experienced throughout
the years, I have always kept this trace which I find impossible to
hide."
Jose
Bonet has a very special relationship with the piano. We ask him
whether he considers it to be the best suited instrument to his way of
feeling music. "I don't know why, but ever since I was a very young
child, blood flowed through my veins in a very different way whenever I
saw a piano. Even long before I started studying, I used to sit on the
knees of an adult and managed to make small improvisations. This is
something that gets settled, difficult to define. Today, after so many
years, the respect, the admiration and the love one can get to have for
this so very complex piece of furniture with a soul, turns out to be
enthralling. You treat it very gently, at times with strength and
always waiting for its answer, as if the music emanating from it had
nothing to do with you. It is true that, and I vouch for it, especially
in concerts, a dialogue is set between the piano and me, at times with
all the love, and other times, with anger."
When we inquire whether he has any preferences towards any given
pianos, he answers: "Since several years ago, I felt captivated by the
sweetness of Schimmel pianos. Whenever the concert hall permits so, I
perform with one of them, although in general, in the concerts, the
grand piano is necessary."
About what his opinion is with respect to the electronic keyboards as
compared to the acoustic pianos, he comments: "I had abandoned the idea
of a synthesizer and sequencers many years ago. Electronic music has
the grandeur of being able to simulate an orchestra, you may ask it for
the necessary strength or rhythm. Yet I have always thought that I felt
more comfortable with acoustic music, that the piano transmits your
state of mind, your strength or weakness, that you can make it speak
with your own voice, although, on the other hand, it happens to be much
more complex. And of course, it is a tandem of loneliness, the piano
and you. There is nothing else, It tells what you tell it." ***
Describing what he feels with respect to live performances is somewhat
difficult for him, as he admits. "The live concerts are the most
difficult thing to be able to define.I personally continue to ignore
what I can say about them. The loneliness onstage is quite difficult
for me, yet it has a special magic. Alone, the piano and you. There are
two opposed poles, fear acts, so does pleasure, connecting with the
audience, you feel this as you perform. Dialogues with yourself while
you think of the next fragment,well, the end always rewards you. I must
admit that the value of live performances is inimitable".
Particularly, assessing the reach of music onstage looks difficult. "I
have an anecdote which defines how contradictory live performances are.
I always ask my people, when I finish a concert, how it has been, as
you never control the feeling with the audience, you get an impression,
and nevertheless you hear the opposite; in concerts where technically
you feel very upset in the end, they tell you that the technique was
impressive; in others, on the contrary, where you were performing
feeling more at ease, maybe committing next to no mistakes at all, you
feel the audience keeping more distant. Concerts are certainly
unpredictable, yet they are certainly magical".
As opposed to concerts, the music played track by track in a studio, it
is a very different experience. "Recording is another thing entirely,
it has more perfectionist connotations, it is colder, everything is
thought of, calculated and executed".
And finally, when we ask him if he wants to add something else, he says
goodbye with these comments, not lacking in a touch of humor: "I enjoy
talking about music, and especially the piano, so much, that I would
have extended my speech till it might look like a book against
insomnia. Music has always been and continues to be something very
important in my life, composing is something fantastic because of the
mere fact that you have your own words with music, performing is
entering a nebula of sounds that make you very happy indeed ".
More info here:
http://www.josebonet.com
If you wish to purchase "Entre ayer y hoy" ("Between yesterday and today") you only have to use this link:
http://www.cdbaby.com/cd/josebonet
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