By Chris McGovern courtesy of The Glass
“…Time is your canvas and sound is your paint…”
Though these words were spoken by just one of many teachers composer Keeril Makan had in his musical upbringing, their continuing effect is obvious. His distinct brand of controlled cacophonous music is receiving wonderful press (The New Yorker, Newsday, Sequenza21, and even yours truly ); His works have been performed by great ensembles such as the Kronos Quartet, Bang On a Can All-Stars and Either/Or; His music has been featured in numerous festivals throughout the world (MATA Festival, Other Minds Festival, Gaudeamus Festival, Voix Nouvelles), and he is the recipient of several awards including the 2008 Rome Prize (American Academy in Rome), as well as awards from Meet The Composer and ASCAP. Even with such massive buzz as a composer, Keeril is also handling the position of Assistant Professor of Music at MIT. He managed to take some time and talk to us about his composer beginnings as well as his current CD Target, and a little about his life as well
CM: When you studied violin, were you thinking of a career as a violinist with any kind of soloist aspirations?
KM: I enjoyed playing violin, but I realized at a certain point that I wasn’t really a performer. I have tremendous respect for musicians who can both master their instrument and connect with an audience. I actually stopped playing violin for a number of years during college. When I came back to it in graduate school, it changed my composing. I suddenly reawakened my physical connection to sound. Ever since then, I try to play the instruments that I’m writing for if I have the opportunity. This is how I wrote both Zones d’accord and Resonance Alloy. My physical exploration of the instruments connects the music with the idiosyncrasies of my body. It makes the music more personal, and I think more unique.