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Hello Audrey! Your musical biography claims that the fundamental turning-point took part in 2003, when you started individual improvisation in music. Tell us, what has influenced it?
The turning point took place, in essence, by simply trying to improvise for the first time. I had no prior experience with listening to the music. It was the process and the freedom associated with it that brought about the abrupt transition.
How do you look to the period before 2003? What did classical music give you, and why have you chosen cello?
That time was an extremely formative period for learning (traditional) ways to play music. To listen. To have discipline in intensive practice. Focus. To learn how to communicate wordlessly (even through pre-composed works). Even to experiment in a fashion.. “classical” music (which is a really broad and inexact term in the end) gave me a vernacular and grasp of a language. And this, even though I departed in most ways from its aesthetics and processes, is in valuable to me as an artist. It is never a bad thing to know too much or possess the capability to tap into anything when I would like to call upon it. Also, it has given me a muscular and technical facitloty which helps me also depart from these traditional norms. You cannot depart from something truly without knowing it as well. I orgininally chose the cell when I was 8 years old for the sole reason that it felt like the proper size…
What kind of creation was in 2003, and what is it like now? How does conception mutated? What is the pursue of your music?
I began with this new process (improvising) by trying to, in a way, unlearn what I had learned in classical training as an exercise. But of course now, I really believe in utilizing all my facilities of language in every form to make my music. It is hard to describe the pursuit of my music. But in my bio, you can see some descriptions which might better describe than what I can write here. I’ll attach it.
Voice, analogue electronics and cello is strange and unique combination. Why do you use this particular model? Any plans to integrate more instruments / other technics?
I use this combination because they are the instruments (namely the voice and cello) that are second nature to me because I have been playing and singing since very early ages. So I have a level of musculature and language and knowledge base that allows me to be travel through the sonic areas of these processes with an amount of ease and directness. I am unsure of incorporating any other instruments per say. But I utilize, in sound, anything that is an extension of these intruments and the moment and environment in which I am involved.
I don‘t hear any words in your performances. Actually it‘s something like sounds with their symbols, which sinks deep into man.
So, you want to say that words limit? What is your position regarding this?
I, in fact, am using a lot of text lately in my solo performances. Always improvised, but they exist, whether in full sentences, phrases, or singular words that exist on their own and are elaborated or mutated or what have you. I have no position on the use of spoken language except that I am open to the eventuality of anything happening in the space of my performances. My work is based on a fragility, vulnerability, storytelling, blues, generousness, communication, many things..
Also you don‘t use any vizualizations or other effects, which would direct audience to some particular sphere of visional experience. I believe you do this consciously, why?
In some projects, I do work with some visual artists. But also, live, you will see that a large component of the visual experience comes through in the physicality of my playing and my involvement with space and the people in the room sharing the moment with me.
I don‘t see any officially released albums, am i blind? Why is it so? Do you think that recorded imporvisational / avantgarde music is not true, and that it should be better played live only?
I have a number of releases. Recording is of course a different kind of thing altogether than live performance. It is a more condensed snap shot of work that exists in a more compositional entity for listening only.
Lately you play and travel much in Europe. What are the main differences between european and american improvisational music, how do you see?
I travel a lot in europe because the engagements are finacially more viable than in the US. There are very general differences in the music from continent to continent. But in general, it is subjective and each artist, despite their country of origin carries the history of their own lives and express these things in the way they learn how. My music is not necessarily a result of being american or a citizen of anywhere.
What are the sources you get inspiration from (for your creation)?
This is a really subjective question with a wide range of possibilities to answer. I could say that everything I experience is my influence and every moment of my life informs the moment in which I play. It is a collection of emotions, sensations, thoughts and absolute trust and commitment in and to the moment.
Collaborations with solid compositors and tearaway noisers say about interesting experiences. What similarities and what differences do you notice between them in music composing, sound combination, in attitude to sound in general, and so on?
Every musician and artist I work with has a different or similar take on their work. I believe that I should share and experience the richness of all the diversities of all the people and musicians I come into contact with. They are all my teachers. And I continue to learn from all of them regardless of their aesthetic preferences or processes.
Do you know anything about Lithuania, Baltic region?
I must admit that it will be an entirely new experience for me, coming to Lithuania and the Baltic region. I am looking forward to my visit!
Thank you and till soon!
Audrey Chen:
http://www.myspace.com/audreychen
