The journey that has led me to my work between classical music and jazz, between the Romantic Kunstlied and the jazz standard, and subsequently to this research began in 2011, when I made the acquaintance of mathias rüegg, a composer, arranger and pianist, and the founder and leader of the jazz big band Vienna Art Orchestra. At that time, I was studying voice in Vienna and rüegg was writing music for the Big Apple Circus in New York, for which he was re-arranging lieder by Franz Schubert. He asked me if I could sing these arrangements via Skype for the director of the circus. I happily agreed, not knowing that this would be the beginning of my artistic journey between musical genres – between lied and song. As I sang Der Lindenbaum and Wegweiser via Skype, the idea of adapting and transferring Schubert’s cycle of songs Winterreise into a different musical context was born. I crossed over into a very different practice, approaching the lied as I would approach jazz songs, while at the same time pushing my limits as a jazz interpreter as I immersed myself in the Winterreise. Through this repertoire and the process of discovering my artistic identity between classical and jazz ideals, I was constantly challenged: as a singer, performer and as an individual.
“Though it's just a simple melody,
With nothing fancy, nothing much
You could turn it to a symphony
A Schubert tune with a Gershwin touch”
The lyrics of the song Prelude to a kiss* inspired me throughout the process, encouraging me to interpret a lied as a song, between different sound ideals, genres and their practices. When George Gershwin met Alban Berg in Vienna in 1928, they each played their works for each other. According to Alex Ross, confronted with the difference between their musical styles, Berg would have said to Gershwin, that "music is music“, in spite of what Ross describes as the emergence in the twentieth century of an "enormous variety of genres, cultures and subcultures [...], each of them carrying their own rules, sound ideals and practices."* Berg reminds me that regardless of genre, practices or sound ideals, that music itself, a simple melody notated in signs and symbols, is the common ground, that connects us as musicians coming from different musical backgrounds.
Nevertheless, it was not easy for me to find my way amongst different sound ideals, rules, aesthetics, modes of presentation, the social codes on and off stage, like the audience ordering drinks or food during a concert in a jazz club, whereas background noise in a classical concert is minimized as much as possible, or in a rehearsal in a jazz context in which it is common to 'count in' to set the tempo for the piece of music, which in a rehearsal of a classical music setting would be indicated through looking at eachother or breathing; there are different ways of agreeing on and expecting pre-set ideals regarding interpretations, for example, in the classical context this might be mirrored in approaching a piece of music under the premise of “Werktreue” whereas in a jazz context, improvisation using specific scales and phrasing might be the way of approaching the piece; or clapping rules, for instance, an audience in a jazz club is used to clap after a solo during a song, which would be considered disturbing in a classical concert. In a classical Liederabend setting, the audience would not expect the singer to share personal anecdotes between lieder; in a jazz concert, however, the audience would want them to.
It dawned on me that performing across musical genres means so much more than just interpreting the lieder/songs*. It also means combining, enacting and re-enacting ways of being and behaving considered typical within these different genres. I always repeat and perform more than the repertoire I chose.
Through performing music, the chosen body of work, we are not only repeating and interpreting the music but repeating and interpreting ways of performing it.