Stephen Emmer is an established pianist, widely known among music critics and fellow artists for his creation of brilliant ‘concept’ albums. He is has just released a brand new album, Maison Melody, for free, in support of those who are financially struggling and have lost their incomes during lockdown. We caught up with him to find out more about the new album, his work and inspiration.
JI: Can you tell us a bit about yourself and where you come from?
SE: Hello, I am Stephen Emmer. I am a composer/artist from Amsterdam, the Netherlands. I have a passion for music (where my hobby became my work, but it’s still my hobby too!)
JI: How old were you when you first learned to play the piano? Where did you learn? And who taught you how to play?
SE: I was about 11 or 12 when I lived with my mum in South America, and my mother was a ballet teacher over there, and when there were lunchbreaks I could play the piano. One day she said, “What are you playing?” I said I had no idea, but she said, “That’s Beethoven! So it came naturally to me. There were no teachers, but an awful lot of self education over the years though!
JI: Who inspired you in your music? And what other influences have shaped the work that you have done?
SE: It has been very eclectic as through those dance lessons I was really young, when I heard more than pop only. So I listened to jazz, classical, world music, it was normal to me that diversity, and useful later on. One other big influence on me was that I have done lots of TV music, for station calls, documentaries, news programmes. So that showed me how to create in different musical styles a lot!
JI: You have released a new album, Maison Melody, where did you record it, and why did you choose this particular studio?
SE: The new album was another challenge for me as I was allowed to only write it for just piano and string quartet, so there were no bands or orchestras or famous singers for once, but just me, and then see if that would work too. So literally it was composed in my own home, then recorded in Wisseloord Studios in Holland, where in the past even Mick Jagger recorded his solo albums and then went jogging through the local woods around there, a nice environment (for older folks.
JI: Who did you work with, and how did you select the musicians and recording team?
SE: This time it was a deliberate small line up of co-workers. There are three women from Amsterdam called the Westside Trio, they also play in the Metropole Orchestra who performed at the BBC proms recently as they have an English conductor, Jules Buckley. As a first violin player I invited Dimitrie Leivici who lives and works in LA and Vienna, and in the past has done many contributions to famous movie soundtracks such as Gladiator etc. A fellow piano player called Marcel Worms also did a few pieces next to myself. He is a formally trained Dutch player, a modest person but well respected in the classical music world. On average I’d say we all together are all older than most people in the music biz today.
JI: How did the album get its name?
SE: In my own house, that’s where I make the melodies, hence the name. Over centuries, composers always benefit from self isolation to get no distractions while creating and to concentrate as much as possible during the process. So it’s also a tribute to that old ritual.
JI: How long did it take to record the album? And what did you enjoy most about the process of putting it together?
SE: It took, I’d say one week of recording and one week of mixing, yet months to compose and arrange. I always like the composing part most, that’s where I feel the magic becomes a new reality, from nothing to something. It’s exciting, the best feeling in the world!
JI: Can you tell us more about the album, and the theme and mood you were trying to convey?
SE: It’s introspection, it’s at this stage in your life. I am 62 now, where some existentialist topics pop into your mind and you might feel, what do I want to leave behind later on? What is really worthwhile to pursue today? Do I get fulfilment enough of what I do? So that was one starting point, another one was that musically I wanted to challenge myself to not rely on others, and start to express my inner feelings this time. So therefore this album was where I could show my feelings of melancholy, sorrow, gratefulness and hindsight etc.
JI: Besides piano, what other instruments are included on the album? Have you used any special effects or techniques?
SE: It’s piano and string quartet and sampler. The latter is for atmospherical sounds. We wanted intimacy and warmth, so the whole album is mixed in an entirely non digital studio in Amsterdam where the most ancient and bizarre equipment resides. So there was a mixing console that once belonged to the maestro, Ennio Morricone in the 70s!
JI: How do you tend to compose? Do you have a typical process or way of working or somewhere that you like to write? Does a lot of it just happen in the studio, or is it all intricately planned?
SE: It varies wildly, often new ideas come when I take a shower, I don’t know why? Perhaps there’s more oxygen? Sometimes through improvising behind the instrument, but also when I see beautiful things like buildings or landscapes that spark my musical imagination. A few times I wake up with a melody in my head already, then I record that in my iPhone for later use.
JI: Over the years you have collaborated with many great names including Lou Reed, Yoko Ono, Julian Lennon and Midge Ure. Can you tell us about some of these collaborations? What it was like to work with such talented and creative people? And what did they bring to your music?
SE: I am very grateful, and even humbled about that. These are artists I myself played over and over again (Perfect Day for example!!) as you and I used to do back home once upon a time. I got introduced to them with some of them, but with others I took a direct approach (almost like a musical Latin lover taking his chances, ha ha). However, next to being forward like that, the music you present better be good as they get so many requests by us lesser gods. So when they say, “Yes”, first of all that’s a major big amazing compliment coming from them to me! Then you start to work together, and I am in awe of the extreme focus they put in their work. It’s a completely different ballgame compared to other artists. It’s on a level up or more really, yet not pretentious or anything, they are friendly and civil.”
JI: Do you have a favourite piano at home? Can you tell us about it, where you bought it? And how you keep it in good tune and maintain it?
Yes! It’s an old Bluthner baby grand of the 1930’s. I got it from my then wife as a birthday present about ten years ago. I have a very passionate piano tech doing the maintenance for me. The beauty of this instrument is that it’s a typical composer’s piano as it has 3 strings per key and this way you can hear much better what you are doing. I love it to bits!
JI: How much of your day do you spend at the piano? Does it provide you with comfort and solace?
SE: Not that much, I am more an ideas man and see the instrument as a tool, an extension of the idea. I play only when I have new ideas therefore, but when I do, it does give you these feelings or emotions, that’s definitely true.
JI: As I write, we are in the middle of the Covid-19 pandemic and for many of us, our moods are low and need lifting? How are you staying in good spirits? And what would you recommend for other people who are missing family and loved ones?
SE: One of the hashtags I use in promoting the album is #createathome. It’s what the pro’s do, but now everyone who gets bored watching TV should give it a try to create themselves. You can write, paint, play music, as creating art gives you another type of satisfaction, to both the creator and the ones enjoying listening or seeing it. So it’s win win in these difficult times. I stay calm and positive that way too.
JI: What are your hobbies and interests apart from music? Is there anything else that inspires you?
SE: Hobby and work = music for me, ever since 1972!!
JI: Do you have a special message for Sixtyplusurfers readers?
SE: Okay, I think you’re never too old to follow your passion. So it’s a question of finding the real one in life and then you’re off. Secondly, you’re never too old to be adventurous in whichever way you choose and can even innovate on things that younger people can not do yet. So, this way we are doing just fine, I think.
[Jenny Itzcovitz - Sixtyplusurfers - 07 July 2020]
Listen to or Download (4 FREE) Maison Melody here.
Read full interview here.
