to
Rose Mary Salum: You're a virtuoso
of the flute. I know you see it as an excuse to make music. But what is it about the flute, or how does it serve you in terms of expressing yourself? 
Jean Ferrandis: 
In fact, my mother chose the flute for me simply because my brother used to play the piano and we used to live in a quite small room. So my mother said, “ Let’s find an instrument that doesn’t take space!” So I did not choose the flute. I had a problem with it because I knew I loved music and won a prize very early—at age 13. By the time I realized that I preferred the violin it was too late. But as time passed I started to appreciate the flute because I began transcribing works for other instruments, particularly the violin.
I began to realize how lucky I am to be a flutist after attending and performing at the 2006 National Flute Association Convention in Pittsburgh, where 2000 flutists were in love with the flute. Wow! And I will never forget the way those musicians appreciated my playing. That was a great encouragement to me.
For me the flute is a challenge. The challenge is to try to transform an attraction for this charming and pretty sound into something which moves people. I try to go beyond or behind the sound to find the music, and now I know that the instrument is not of the most importance. The most important issue is what you are able to express with your instrument.
RMS
: There's a phrase that caught my attention on your website: “Ferrandis's flute goes to the core, that is, music.” How many people use music instead of viewing it as the end and not a means to something else?
JF:
I don’t know how many people are doing this. But I do know that to be onstage you need a big ego. This ego should be used only in the service of the composer, which is not easy. The thing is not to try to be different, but to find our way to play the music the right way. This is different!
RS:
Your critics have said that you´ve taken some of your performances to the limits. What ignites this passion of yours? JF:
Yes, something that I don’t understand is living somewhere in my body, in my heart, in my soul. It always surprises me. I think I’m a very simple guy in real life. Onstage, music gives me a special energy, and I have felt this ever since I was a kid. I don’t feel responsible for it; I’m just a live antenna. I think God is doing everything for me! RS: What is the function or the purpose of transcribing existing repertoire? Do you transform the work into something new? Do you become a creator by doing so?
JF: When I transcribe I just try to be natural as much as possible. A transcription should sound as though the music had been written for the new instrument. It is a tribute to the composer, and I truly love the works I transcribe. They are masterpieces, and they raise my artistic level each time I play. What I want in my life as a musician—as a performer and teacher—is to improve. I always feel like a student.
RS: In your view, what is the state of classical music in France?
JF: This is a difficult question. Everything is made by people. In a sense, music is like cooking: preparing a chili con carne doesn’t guarantee that it will be good. What counts is who makes the chili. So there are some people who deeply love music in France and they are able to promote classical music at a very high level. But to be very honest, the French are not an intrinsically musical people. What has traditionally interested them more are literature, painting, and dance…but not music. So I would say that French people who are gifted for music receive very little support from the national culture, but rather must find a way to develop their talents by themselves.
The Concert by Jean Ferrandis and Mauricio Nader was organized by The General Consulate of Mexico
, The Consulate General of France, Literal, Latin American Voices
and The Department of Modern and Classical Languages at The
University of St Thomas
0 comments:
Post a Comment