Page 129 - PDF Flip TR Program Demo

text. Music behaves like a language in some ways, and in other ways it stands outside of a rational grammar. It feels like there’s this ballet between words and music that allows me to communicate a series of registers of emotion to an audience at once.
DH: Through your many musical collaborations, how has your relationship with Timo Andres changed over the years?
GK: We’ve seen each other grow up and mature musical- ly. Watching Timo’s music grow from being pretty clearly reflective of his early influences and then in the last five years really developing into a language that’s fundamentally his own has been really exciting. And also, getting to know
him as a pianist as well, because I think he and I are pretty fundamentally different. He’s pretty Apollonian and I’m pretty Dionysian, which is not to say that his music-making is cold in any way, but I think he’s someone who achieves emotional catharsis from the outside in, and I go more from the inside out. He’s such a beautiful player, and I’ve learned a lot from him, even though he’s four years younger than I am. It’s always a pleasure to work with him.
DH: Whether you’re performing or composing, what is the most reward- ing part about making music?
GK: Giving people an emotionally authentic experience. Offering people an entry point into empathy for something that they either didn’t know they cared about or didn’t know that they could care about is deeply rewarding.
2018 Summer Season 129