Ernesto Rodrigues Interview

Radim Hanousek - crucial moments of your musical life, musicians who influenced you in the beginning, who influence you today.

ER – My relationship with improvised music dates back to the 70s. In Portugal, Carlos Zingaro (violinist) was very important in the development of this musical practice. At the same time, he followed the work of the so-called „English school“ and already had as references Evan Parker, Anthony Braxton, Derek Bailey just to name a few. Even today they are undisputed milestones for me.

RH - Your favorite composers and music. what inspires you?

ER – The aesthetics with which I feel most identified are contemporary music and free jazz. My favorite composer is without a doubt Györgi Ligeti. Of course, all post-serialist composers are important in the development of my musical personality (Iannis Xenakis, Karlheinz Stockhausen, Luciano Berio, Luigi Nono, etc). On the other hand, in free music I find the other side that I like for its irreverence (Ornette Coleman, Albert Ayler, Cecil Tayler, etc).

RH - .Can you describe the portuguese improvise-experimental scene and compare it with abroad? what is, by your opinion, interesting, original about it?
does the impro scene form one community or is it divided into sub-communities?

ER – The experimental scene in Lisbon already has some musicians with established and internationally recognized credits. Of course, London or Berlin are at the origin of this phenomenon. In experimental (reductionist) music, perhaps I will admit that we are more contemplative, due to the circumstances that influence us such as geography and climate - we have more sun ;)

RH - How do you think improvised music develops? is there a sound change, change in approach?

ER – Around the year 2000, the so-called 2nd school of improvisation appears. Near silence was finally implemented. John Cage's legacy was finally integrated into improvisation. The melodic, harmonic and rhythmic materials have to be molded and dissected in the light of the realities consistent with the sensitive world of each era. We live in chaotic and undeniable turmoil, in a crisis of values and even of identity, and everything in the world is moving very quickly. Time, with its psychological component, is scarce for everyone.

RH - Where are your boundaries - what is music and what is not? what musically interests you and what not?

ER – I think that art is an essential tool to awaken consciences. The dream. The other side of life. As far as music is concerned, I'm interested in the avant-garde. We live in a time of crisis in which any artistic manifestation is legitimized by the conceptual. The bar lowered. I believe in art music.

RH - Do you also collaborate with artists from other fields (visual artists, dancers, theater, film)? how this collaboration change your music language, your play, sound?
can the connection with non-musicians in the ensemble be something musically interesting?

ER – It is not because I put music at the service of other forms of art that I alter or modify my way of composing or performing instruments. I'm always the same. I believe that the most important thing in an artist is his personal stamp, which is closely related to his personality.

RH - Is there any way to define rules for improvised music players? is it necessary for the improviser to be musically educated? should non-idiomatic improvisation be studied at universities? how?

ER – In free improvisation there are no rules. Each musician has their glossary, their language and from there a conversation is generated. Of course, the more musical culture you have, the greater the horizon. Yes, I have been advocating for decades a curricular discipline related to improvisation in music schools. It is a very important tool for the growth and maturity of any musician.

RH - What inspires you? are you still looking for some new sounds on your instrument?
can you somehow describe what processes run in your head when you improvise? are you thinking about the next steps, are you acting intuitively? what if someone plays something in the ensemble that disturbs you?

ER -  I think that in improvisation practice is very important. In my case, when I play, I think there is a balance between the rational and the emotional. We are subject to stimuli, to space, to the public. All this contributes to the result that is produced in real time.

RH - Can you compare your feelings when you play written and improvised music? are you interested in concepts, partly pre-prepared improvisation or partly controlled improvisation (using instructions, conductor, special notes, graphic scores)? where is border between improvisation and composition?

ER – They are two totally different approaches (while interpreting). In written music there is a greater demand on concentration. When I improvise I feel freer. But myself.

RH - Have you played anthony braxton music? what do you think about braxton scores and ideas?

ER – I played some Braxton themes. He is a musician that I have appreciated for decades. His attitude towards music changed over time. In the 70's he was a jazz musician, coming from the Chicago school, where improvisation played a leading role. It doesn't mean that today he doesn't have it, but the compositional aspect has widened. It's very interesting the way he balances these two genres. Braxton has very personal concepts. Complex, genuine and original.

Entrevista a Radim Hanousek (January 2022)