JAMES STRECKER: Let’s talk about the two recordings that you have recently released, but let’s do them one at a time. First, with From Oblivion to Hope which is performed by Odin Quartet, why exactly does the composition matter to you as a composer?
FRANK HORVAT: From Oblivion to Hope was an important album for me to make as it is a varied collection of my compositions for string quartet crossing 4 decades of my career. It’s a cathartic experience to curate such a collection because it not only encapsulates my evolution as a composer but also my development as a human being.
JS: Why exactly does this composition matter to you, as a human being and why should it matter to us?
FH: From Oblivion to Hope features compositions that show both the dark side of humanity but it also morphs into something that is optimistic for the future. I wanted the pieces to reflect my hope that as human beings, we do have the ability to make the world a better place.
JS: What can you tell us about the Odin Quartet, especially as interpreters of your work?
FH: It was a such a pleasure to make this album with Odin. They are such a talented quartet. They are so creative and adaptable in playing in such varied styles. We were a good match in that way as I tend to explore a variety of styles through my compositional voice. I also appreciated their input on fine-tuning the compositions. The result is something that is intense, beautiful but also very idiomatic.
JS: How may one purchase this recording From Oblivion to Hope?
FH: The is available on most streaming platforms. A digital download can be purchased at https://frankhorvat.com/discography/from-oblivion-to-hope/.
JS: The second recording is A Village of Landscapes, performed by Sébastien Malette on bassoon. As before, why exactly does this work matter to you as a composer?
FH: I have always enjoyed composing for the bassoon but never composed anything so in-depth to explore the many facets of the instrument, so this was a wonderful experience to do that.
JS: Was it difficult or relatively easy to write for bassoon as a somewhat isolated instrument in an extended piece?
FH: I actually found the process of composing all 13 pieces in the suite to be quite fluid and organic. I often make a game-plan of what I want each piece to achieve mood wise, so that preparation before starting to compose makes it quite straight-forward. Meanwhile, the bassoon is a VERY versatile instrument. It has a wide range of notes, timbre contrasts and dynamics. I think we tend to pigeon-hole or stereotype instruments like the bassoon, limiting what they’re capable of doing. That’s one of the reasons why I appreciated composing this suite – feeling like I could explore every nature and character of the instrument.
JS: As previously, please tell us why exactly this composition matters to you as a person and why it should matter to us.
FH: My hope is that listeners will have a new appreciation for the natural beauty that is found all across Canada. I also hope listeners appreciate how art can inspire art, in this case, my music being inspired by the breathtaking photography of Michelle Valberg.
JS: You note that A Village of Landscapes was inspired by photos of stirring natural landscapes that represent each of the 10 provinces and 3 territories in Canada. Please tell us about your love of the environment and how this love translates for you into creation of music.
FH: I have always been passionate about using my musical voice to bring to the forefront the natural world. Having my music reflect this has always felt very natural to me. I think artists have long made their work reflect the times they live in. Our present world is at a precipice when it comes to protecting our natural resources, so as an artist, I feel I have a duty to have my compositions reflect this.
A Village of Landscapes was a great project to work on as it pays homage to the wide array of landscapes that are prominent all across Canada. This was a wonderful creative challenge for me to use a finite source of instrumental and sound sources to achieve this.
JS: What kind of audience from the general public will these projects interest?
FH: That’s a tough question for me to answer as I rarely think about that as I compose the works. Now that the music is out there though, my hope is that the music will resonate with fans of classical chamber music as something a bit “different” yet engaging. Meanwhile since my musical influences tend to be quite eclectic, I do hope that music fans who don’t regularly listen to classical music will also find it interesting.
JS: Oscar Peterson once told me how worried he was about the shallow levels of musical knowledge and appreciation in our culture. Do you share his concerns and, if so, what kind of remedy do your creations offer?
FH: I love Oscar Peterson but I respectfully disagree. Because of technology these days, we have never had access to sample such a wide array of artistic expression in human history as we do today. These are exciting times with so many people of many varied backgrounds that are creating and communicating amazing and wondrous things. On a music front, we have composers and performers putting the most exciting mix of music out there…creating new sounds never heard before especially when including electronics in their practice. When people say the quality of art and culture is not as good as it used to be, they’re either not looking in the right places or they’re consuming work with a closed mind.
JS: I need to bring up the notion of genre in our culture. Is this notion a limitation to creators of music, or does it provide a means to deeply explore a specific genre’s possibilities, or should music be flexible enough to embrace most possibilities?
FH: I think the business of music has always needed to create labels in order to sell music. As a creator of music, I have always rebelled against this because of the fear that my creative latitude would be stifled. I would like to think that the art-consuming public is intelligent enough that they don’t need to have everything they consume labelled. They can sample something and if it resonates with them, then they should consume more, even if it is of a genre that they have traditionally not veered towards.
JS: Let’s talk about the state of the arts in today’s culture, including the forms in which you work. What specifically gives you hope and what specifically do you find depressing?
FH: I don’t get depressed about the state of arts and culture these days for the simple reason that it is something that I cannot control…specifically the direction in which it continues to evolve. I compose my music, produce my albums and collaborate with very talented and kind-hearted individuals to make it all happen. I then put it out there in the world and the world will have their unique relationship with it. I do what I do because it brings me joy and purpose. If the results of this life bring others joy and engagement, then that is a pleasant bonus to the whole process. As I said, the way in which we consume art is always evolving. I will follow along as a fan and get inspired, but otherwise I just love doing my own thing.
JS: What do you yourself like about the music you write?
FH: Great question! Basically, when I sit at my desk and I’m composing something, I always ask myself, have I ever heard anything like this before? If I answer, no, then I know I’m on the right track. For me to put my music out there, I have to be surprised, amazed and moved. If it passes this test in my mind, that I have pride in my creation. I never get sick of this feeling.
JS: What’s next for you in the coming few years of your very active life in the arts?
FH: I’m fortunate that I have a number of commissions that will be released either in album form or through live performance with a number of innovative artists including the SHHH!! Ensemble, Kathryn Ladano, Christina Petrowska Quilico, Sinfonia Toronto, Sharlene Wallace, and Meredith Hall. In June, I will be going on an artist Arctic Expedition, so I’m sure this will inspire a number of new projects. I can’t wait!