Heard anew: Hans Abrahamsen

When it comes to classical composers, most people think of old masters such as Beethoven and Mozart. But the »Elbphilharmonie Visions« festival demonstrates that contemporary music can also be »just as rich and diverse as humanity itself« (Alan Gilbert). The festival’s programme features only music by contemporary composers. Not only is that musically very exciting, it also offers an amazing opportunity to ask the composers questions about their works and the process of creating them. How do you go about composing? Do you have a concrete idea of the work before you sit down to write it, or does it emerge only when you start? What role do your surroundings play? And what are your hopes for your music?

The Festival composers talk about this in short interviews. In this case with Hans Abrahamsen, who is probably Scandinavia's most highly-regarded contemporary composer. The Guardian has called his song cycle »Let Me Tell You«, which can be heard at the Elbphilharmonie festival, »the best piece of classical music to be written in the 21st century to date«.

Do you already have a strong vision of a work before you set about writing it?

Yes and no. A marked feeling for mood and atmosphere always precedes the work of actually composing, but the music often only assumes concrete form while I'm actually writing it. I always like to take risks and try out different ways of doing things. And if I suddenly have the feeling that I »recognise« the music to a certain extent, then I know that it's right. A great deal of things happen unconsciously when you're composing. You need to have faith in that.

What role do non-musical factors play in your work?

I believe that every composer is influenced by the world around him or her – sometimes consciously, sometimes unconsciously. I would say that we get in tune  with the world itself when we compose music.

At the »Elbphilharmonie Visions« festival, contemporary orchestral music plays a more prominent role than probably at any other concert hall in the world: 18 works by 18 composers are being performed on nine consecutive evenings. Do you think that's a good idea, or is it the wrong strategy?

I see this as a really great and important initiative. This festival is like an exhibition of the contemporary-music scene. That's fantastic. After all, people go to art galleries to see new paintings, don't they? Why shouldn't that work for music as well? But it is still important to integrate contemporary music into other concert programmes too. This enables the public to come into contact with it – people that might not have chosen to go to a concert where there are solely contemporary works on the programme.

What does contemporary music need to win the public's favour?

That's not so easy to answer. Tastes differ: some people like one thing, others prefer something different. I think what contemporary music needs to win the public's favour is simply to be heard. It must be given the chance to surprise people and touch them. As far as the music itself is concerned, it needs to come from both the head and the heart, so that it can appeal to both. Many people think contemporary music is too cerebral, but that's actually not true.

What improvements to concerts would you like to see  – today and in the near future?

I just hope that concerts continue to play an important role in our lives. Music is a fantastic thing. It is a very special language, and there is still so much to discover, so many new languages to learn. It's my dream that everyone will always have the chance to experience music.

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