KAADA, in this pandemic period, developed a very close relationship with the grand piano he bought four years ago. It's not a domination relationship, but one based in reciprocity, in a sense that the musician explores all the possibilities that the instrument allows. It's quite obvious that much of that exploration happens because of the musician's open mind about the instrument. Until 2021 of March, the official release date of Misinterpretations, the norwegian musician will release themes from the album that is based on adaptations of classics pieces of classical music that the musician reinterprets and deconstructs by altering the piano strings with a kind of gum (Puttykit). The musician was surprised by the positive response of the public who listened to the single Lieder ohne Worte, Op. 30, MWV U110: No. 6, Venezianisches Gondellied. Allegretto Tranquillo (Rearranged) an original by Felix Mendelssohn, reaching immediately 4300 listens.
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| Misinterpretations, KAADA |
How have you come up with this idea of making adaptations of classical pieces with a piano and PuttyKit on each string?
After buying a Grand Piano four years ago, I had the intention of practicing a lot, and try to improve my piano skills. The problem was, and still is, that I feel a bit bored with the traditional piano sound. When you prepare it, it responds in a different way. You don’t always get the sound that you expect. It is like the piano is also playing you, and not only the other way around. A mutual partnership. The piano gives more energy, because it has to produce sounds that it was not ment to be making. When I started experimenting with these kinds of sounds, it was more inspiring to play piano. Also , I feel that the sound gets more personal and that it works better with my music and my way of playing.
The single was released two days ago and already got 4300 streams, do you think that the huge feedback may in part be due to the confinement?
I didn’t know what to expect when it comes to streaming numbers. As I have not released any classical inspired music before. But it is supernice to see that people are listening to this. Latest update on the single is 9000 streams. Not sure if I have ever had those kinds of numbers immediately after a release.
Next single is coming Jan.22 - Gounod - "Funeral March of a Marionette”.
Can you tell us about the whole process of this record?
After I had experimented with different kinds of preparations, I decided to go for the Heftemasse / Putty-kit method. It had an organic and quirky elegance to it. People has been comparing it with cello pizzicato, which is nice, I think. When I was a kid, I played a lot of classical piano, but stopped around the age of 22. Other kinds of music offered more freedom and I find that tempting and more inspiring. Ever since I have been composing for films and playing improvised music on the side. But you know, classical music, can also be a playground for improvisation and re-arrangements, so when I started working on my piano, it was natural to combine the two worlds. My love for improvisations and compositions, and my background from the classical world.
I found a bunch of old masterpieces that worked with my way of playing and that was fun to work on. Sometimes I just picked out some small parts of the piece, and stretched those moments into a new form. Other times I played the tune more or less straight through. But always looking for those glimpse of music where I am emotionally touched. If a part resonated within me, I tend to focus in on that part. And dropping other parts in the original piece that I didn’t like as well.
How are you dealing with this pandemic scenario?
A lot of musical projects have come out of the pandemic situation, and this is no exception. If my normal job as a filmcomposer hadn’t stopped in march, I would not have had the focus or the time to go through with this. It has been days with piano practicing and recording from morning too evening, none stop. There is a calmness in the music, which I didn’t think I had in me, and that I would never have found if it weren’t for that the world outside had stopped.
Interview: Priscilla Fontoura
Interviewee: KAADA
Translation: Cláudia Zafre