Alexander Balanescu, the London-based violinist of Romanian origin, leads the avant- garde string quartet Alexander Balanescu
, formed in 1987. Before that, Balanescu was part of the Michael Nyman Ensemble and Arditti Quartet. Ever since he has worked closely with artists of various musical orientations such as saxophonist John Lurie
, singer David Byrne, pianists Keith Tippett
and Carla Bley
, oudist Rabih Abou-Khalil
, Spiritualised and the Pet Shop Boys.
Balanescu has been involved both as a performer and as a composer in many cross- genre collaborations with film, theater, dance and art productions, such as films directed by Peter Greenaway and dance projects directed by Pina Bausch. During the last two decades, a strong link to his Romanian music heritage has resulted in a number of projects which include the albums Luminitza
(Mute, 1994), Maria T.
(Mute, 2005) and his most recent collaboration with the Romanian singer Ada Milea, The Island
His music draws its singularity from finely distilled influences that go beyond geographical borders and genre limits. The musician's classical background has been continuously enhanced by an active interest in traditional music, as well as in a large array of musical styles ranging from contemporary music to pop, and from sound processing to post-modern jazz.
The uniqueness of Balanescu's performance resides in its deep emotional resonance and powerful manner of expression, characterized by the violinist's strong rhythmical impact on his strings, as well as other non-specific sonorities. The tension thus created has resulted in a style of interpretation defined by the artist as Aggressive Lyricism.All About Jazz:
What what is the significance of your composition, "Still with Me"?Alexander Balanescu:
I wrote that piece when I first returned to Romania 23 years after I left in 1969, and I realized that all the ties to my land of birth were intact.AAJ:
What was your first conscious musical experience?AB:
I have quite a few musical memories from my early childhood, but what I recall very well is meeting classic violinist David Oistrakh. I was about nine. I went to the rehearsal in the morning, in a concert hall in Bucharest, where he was rehearsing for a Brahms concerto. He was trying two violins: one was a Vournelli, and the other a Stradivarius, and he was asking the people which one sounded better. Most people chose the Vournelli, and I thought that it was better for Brahms, too. Because I did not have a ticket, after the rehearsal I hid in the toilet and I only came out in the evening when the concert began. I also remember that after the concert he signed the program for me. I was very impressed because he seemed to have time for everybody. He exuded much warmth and was never in a hurry.AAJ:
Did he become your role model?AB:
Yes, Oistrakh became one of my gods. The other one was Yehudi Menuhin
. They represent quite opposite ends of the scale. Oistrakh was the perfect technician, whereas Menuhin was all about expression. They became my hearing poles. I believe that the really great artists are also great, generous persons. Menuhin helped me a lot, and not only musically. He also had great political courage and was quite vocal about his views. I admire him for that too, even if I didn't share all of his views. When we first emigrated to Israel I did not want to join the army there, as I did not want to join any army at all. I was studying in London at that time and I needed some recommendations in order to stay there and continue my study. I got those recommendations from Yehudi Mehuhin, from Placido Domingo, The Chicago Symphony Orchesta and Chorus, Daniel Barenboim
and from Isaac Stern. Menuhin helped me with quite a few other things as well.AAJ:
How did you come to study the violin?AB:
I started playing the violin when I was about six, and I had a terrible teacher at first. After a few months I stood for an exam at the school of music in Bucharest but I wasn't accepted. They said I was quite expressive but not very technical. The school was called 11th June, due to some historical event, which was exactly my birthday. Quite a coincidence, isn't it? Afterwards, I had an extraordinary teacher. I remember that somebody was moving out from an apartment in our building, and they sold a big pile of musical scores. My mother went to see if she could get some classical scores for my future instruction and there was this young lady with a violin case. So she asked her for advice. She told her what to buy; then came to listen to me playing and became my teacher. Her name is Miriam Koritzer. She was a prodigy, who had graduated from the musical academy at 15, and was playing in the film studio orchestra at that time.AAJ:
What kind of impact did she have on you?AB:
She still has an incredible impact on me. She lives in America now, but we are still in touch. She is a mentor, a muse, a lover and a mother to me. Miriam became very passionate about my musical development. We used to work from six to seven in the morning, in the kitchen, so as not to wake up my family. When she finished work, she would come back to see what I had done during the day. Her family did not understand this very well because she did not get paid for my tuition. The only thing my mother could do to compensate for her teaching was to buy her bread. In those days, she had to queue for bread at the bakery downstairs. In this way we won another half an hour of practicing.
Her methods were very revolutionary. First of all, she never separated technique from musicality. So, I never had to practice technique for technique's sake. It was always connected to some kind of expression. Then she had a very interesting conception about the left hand, the fingerboard. Usually you study the violin in positions. She had the conception that the fingerboard is like a piano keyboard, so you play in intervals, all over it. I still haven't heard of anybody else who shares this unique conception.
This gave me a lot of freedom on the violin, and that's probably why I find it easy to play contemporary music and to improvise. In order to enhance my power of expression she would ask me to play the same piece again and again, each time in a different mood. She would say, now you play like a king, now you play like a tramp and so on.
This time, I passed the entrance exam for the music school with the highest mark. She also resolved the problem on hearing, by associating pitch with an image. Now I have perfect pitch. She would also record the lessons on videotape, so that I could analyze my playing after a while.
She left Romania a few years after us and went to America. When I went to study in New York I reconnected with her. She was in Philadelphia and every two or three weeks I would go and visit. We also worked a lot over the phone. AAJ:
When did you know that you were a born musician?AB:
I fell in love with the violin right away. My father brought me a violin from one of his travels, I think from Russia, and I took to it immediately. I always took the study very seriously, so at that time it was already very clear to me that I was going to make music and nothing else. I didn't really have a normal childhood, because it was dedicated to music, but I enjoyed it very much.AAJ:
When did you make your debut?AB:
I was nine when I had my first recital in a concert hall and I have been working ever since.AAJ:
Your musical background is classical. Can you identify the moments when you became permeated by other influences? Which one had the greatest impact on you?AB:
The musical education in Romania was at a very high level but it wasn't very diversified. So I got in touch with chamber music, for instance, only later, in my twenties. I used to study stupid things based mainly on virtuosity, and I didn't get to hear some of the great music until later on, music from other fields, which interest me a lot these days. A big change happened when I went to study at the Juilliard Music School in New York. It was quite a traumatic experience in a way, because before that I was already a star. When we left Romania I could only take with me a 7/8 violin, which was OK, but it wasn't really a good instrument. So, I lacked a good instrument.
The Trinity College in London lent me very good instruments, but in Julliard I was one of the hundreds of talented young people and I became anonymous. The administration at Julliard was very impersonal. I had one of the greatest teachers there, Ms. Dorothy DeLay, with whom I had a great relationship but the school system was quite tense.AAJ:
What were the non-classical influences that made an impact on you?AB:
In my time in New York I have realized that it did not fulfill me to have a career as a classical soloist, and I needed to do something else as well. So I started to become interested in composition in order to be more of an all-round musician, not only a performer. I also got involved in the avant-garde world, which was quite different from the uptown music. I came across Laurie Anderson
, Philip Glass
. I met John Cage
and John Lurie became a friend of mine.
I did quite a few jobs in order to survive; one of them was to play James Brown
's "Sex Machine" on viola for fifty dollars in an avant-garde theater on 22nd street. John Lurie was also in this show and we used to hang around in a bar where I also met [film director] Jim Jarmush. So, I gradually got involved in a completely different world. I became friends with the violin improviser Malcom Goldstein. It was a very open circle of people and you could interact a lot. We used to have concerts in lofts, which was a bit weird because it was completely opposite to my "day job" in Julliard. It was like having a secret life.AAJ:
What would you define as the main source?AB:
I had a lot of influence from other musical areas, like traditional music, electronic music, pop music and, of course, jazz. I am interested in music from many parts of the world and in the way it connects and interacts, and on its impact on classical music. On the other hand, I play Bach very often these days because he was a great improviser. He was the jazz man of his days. It is only now that I have started to understand him and am trying and approach his music, because now I don't get stuck with the technical part anymore.AAJ:
What is your affiliation to jazz?AB:
I love the freedom and the power of expression you can find in jazz. Also the sensuality. I used to be very passionate about jazz when I was young but at some point I got disillusioned. After free jazz, after [saxophonists] John Coltrane
, and Albert Ayler
and [pianist] Cecil Taylor
, there seemed to be nowhere to go, a bit like in the classical field after serial music. There seemed to be a dead end there. Of course this is a generalization and there are still people working on this field who are wonderful. Cecil Taylor is still there, [saxophonist] Evan Parker
is there, [guitarist] Bob Brozman
is there, but mainstream jazz has become very conservative. It is music that is very well played but is not exciting anymore. What was exciting for me in jazz was the sense of revolution, of looking for things, of changing things.
What is more interesting now is another area of jazz, which is not blues-based, but is a kind of combination of more influences. The Scandinavian jazz, for instance, has a lot of classical in it, and has the history of jazz, but comes from a different directionwhich, to me, is leading forward. After all these years I think Europe has become more important than America in what we call jazz these days. Or let's call it improvisation. Take musicians like [pianist] Misha Alperin
, for instance, who succeeded a lot better to fulfill the marriage between composition and improvisation. I find this exciting and I work quite a lot in this field myself.