Heard anew: Enno Poppe

When it comes to classical composers, most people think of old masters such as Beethoven and Mozart. But the »Elbphilharmonie Visions« festival demonstrates that contemporary music can also be »just as rich and diverse as humanity itself« (Alan Gilbert). The festival’s programme features only music by contemporary composers. Not only is that musically very exciting, it also offers an amazing opportunity to ask the composers questions about their works and the process of creating them. How do you go about composing? Do you have a concrete idea of the work before you sit down to write it, or does it emerge only when you start? What role do your surroundings play? And what are your hopes for your music?

Composers featured in the festival respond to these questions in short interviews – this time it’s the German composer and conductor Enno Poppe’s turn. At the »Elbphilharmonie Visions« festival, he and Ensemble Modern join forces to present his work »Körper« (Body), in which the orchestra undergoes several transformations – »Free jazz, big band, Balkan banda, Arabic tacht and a riotously improvising chaos troupe«, summarises Neue Musikzeitung.

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

Mozart once said: »I have already composed my work. I only need to write it down.« Composition without an inner vision is impossible. I can imagine an entire piece in my head. However, the ideas do undergo significant change when you write them down because it isn’t a mechanical process. In your head, some things are improvisational and fleeting, and they become clearer and more structured on paper.

What role do non-musical factors play in your work?

I don’t know exactly what that means. When I transform something into music, it ceases to be non-musical. The process of composing is one that can turn anything into music.

At the »Elbphilharmonie Visions« festival, contemporary orchestral music plays a more prominent role than probably at any other concert hall in the world: 18 works by 18 composers are being performed on nine evenings. Do you think that's a good idea, or is it the wrong strategy?

Festivals are fantastic. They generate interest. That’s just as true for music festivals as it is for film festivals or major art exhibitions. Films that sell out at the Berlinale, and for which viewers have to wait patiently in long lines to see, are often almost ignored when they are given a regular cinema release. That speaks in favour of the concept of festivals. Of course, it would be better if audience interest was just as intense all year round and directed toward all forms of culture, but how are you going to achieve that?

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

New Music is loved. All these festivals around the world are full. The interest in it is huge. What we need is an approach to New Music that is underpinned by curiosity and enthusiasm. It’s the same as with many other things, for example with food or travel: part of the enjoyment lies in the newness of the experience.

What improvements to concerts would you like to see  – today and in the near future?

In literature and film it’s normal for audiences to read new books and watch the latest films. I would like it if the same were accepted for music without one having to keep explaining why we need new works. You could close all the cinemas right now if they only showed old films. Playing New Music safeguards the existence of our concert halls.

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