FREDERIC CHASLIN
COMPOSER/ PIANIST/ CONDUCTOR
"The world has been into a crazy spirale of megalomania since decades
and we are paying the price."
and we are paying the price."
France, 30/04/2020
My very first impression of maestro Frederic Chaslin, was this of a musician who really "speaks music" effortless, and who is a happy, easy going, calm and curious person, making everyone around him feel comfortable and playful in a creative kind of way. Frederic Chaslin is an artist of many aspects. In his own words, "composer in the root, pianist is the tool, conductor is an extension of that tool". He is an artist with a very clear mind, who understands deeply that art cannot be defined in titles, but it unites all aspects of ourselves and constantly transforms, like time and space, only to give humans the freedom we need.
Frederic Chaslin performing and conducting Mozart's piano concert K488
How did you fall in love with music?
I don’t think I fell in love. It is more like music is one of my organs, like a second heart… I always felt it beating in my chest.
Composer, pianist, conductor, artistic director. Do you find yourself more in one role or are you equally “at home” with all of them?
Composer is the root. Pianist is the tool, conductor is an extension of that tool. As for Artistic Director it is more the means to execute those various skills. I write books about music as well, and it is an other extension of the same domain. Actually, I feel like I’m only doing one same thing, under different “avatars".
You have been assistant conductor to Daniel Barenboim and Pierre Boulez. How did this experience affected you personally and artistically?
Barenboim gave me the sense of sound and style. Boulez gave me a sense of method. They were extremely different, especially as human beings. Boulez was warmer in everyday relationships but very distant, in a way. Barenboim was very cold but very “possessive” with his assistants.
As a pianist, do you have a favourite composer or work you always love to perform?
Prokofiev, Chopin, Rachmaninov and Debussy.
Where does you inspiration for your compositions flows?
I don’t know where it flows, but I know where it comes from. Mostly pop music from the 70’, Opera and Ballet.
Opera world has changed radically after the 80’s. What is your advise to a young singer starting currently their career ?
To be patient, work hard until perfection and chose your repertoire with care. And find the right coach, of course, which is the biggest challenge.
COVID-19 has stopped the world from turning. How do you imagine artistic life in the near future and how do you think artists will react to these changes?
I can foresee that we will have to adapt to smaller venues, smaller audiences, as the rest of the world will need to do. The world has been into a crazy spirale of megalomania since decades and we are paying the price. Venues, concert hall and operas are growing bigger and bigger but singers only have 2 vocal cords...
Does the current situation inspire you in some way to compose or to create, in any way, something new?
In any case, to compose more intimate music, chamber operas, piano music...
Is there a life or artistic dream you are still pursuing?
To have my own theatre where I could promote only new creations. The repertoire needs to be renewed, opera is so old fashioned. Opera has been challenged by cinema in the 20th century, and who could imagine to go to the movie theatre to watch only old movies? Cinema and litterature are stronger and healthier because they regenerate more often. Opera is like an aquarium where you don’t change the water regularly and so the fish eventually die.
Future plans?
A lot, to many to list here. But most important, to write new pieces, always. An Opera based on Celine’s life (the writer, not Dion). A series of cinematographic preludes for piano. An many more...
Art is…
Art is what you live for, at the end of the day.
I don’t think I fell in love. It is more like music is one of my organs, like a second heart… I always felt it beating in my chest.
Composer, pianist, conductor, artistic director. Do you find yourself more in one role or are you equally “at home” with all of them?
Composer is the root. Pianist is the tool, conductor is an extension of that tool. As for Artistic Director it is more the means to execute those various skills. I write books about music as well, and it is an other extension of the same domain. Actually, I feel like I’m only doing one same thing, under different “avatars".
You have been assistant conductor to Daniel Barenboim and Pierre Boulez. How did this experience affected you personally and artistically?
Barenboim gave me the sense of sound and style. Boulez gave me a sense of method. They were extremely different, especially as human beings. Boulez was warmer in everyday relationships but very distant, in a way. Barenboim was very cold but very “possessive” with his assistants.
As a pianist, do you have a favourite composer or work you always love to perform?
Prokofiev, Chopin, Rachmaninov and Debussy.
Where does you inspiration for your compositions flows?
I don’t know where it flows, but I know where it comes from. Mostly pop music from the 70’, Opera and Ballet.
Opera world has changed radically after the 80’s. What is your advise to a young singer starting currently their career ?
To be patient, work hard until perfection and chose your repertoire with care. And find the right coach, of course, which is the biggest challenge.
COVID-19 has stopped the world from turning. How do you imagine artistic life in the near future and how do you think artists will react to these changes?
I can foresee that we will have to adapt to smaller venues, smaller audiences, as the rest of the world will need to do. The world has been into a crazy spirale of megalomania since decades and we are paying the price. Venues, concert hall and operas are growing bigger and bigger but singers only have 2 vocal cords...
Does the current situation inspire you in some way to compose or to create, in any way, something new?
In any case, to compose more intimate music, chamber operas, piano music...
Is there a life or artistic dream you are still pursuing?
To have my own theatre where I could promote only new creations. The repertoire needs to be renewed, opera is so old fashioned. Opera has been challenged by cinema in the 20th century, and who could imagine to go to the movie theatre to watch only old movies? Cinema and litterature are stronger and healthier because they regenerate more often. Opera is like an aquarium where you don’t change the water regularly and so the fish eventually die.
Future plans?
A lot, to many to list here. But most important, to write new pieces, always. An Opera based on Celine’s life (the writer, not Dion). A series of cinematographic preludes for piano. An many more...
Art is…
Art is what you live for, at the end of the day.
