Additional Information
The Caprice Ensemble, conducted by Matthias Maute, will take over the 9th floor of the Eaton Center in Montreal to offer the public an original dialog between the European baroque orchestra and the traditional Indian flute (the bansuri), played by J.A. Jayant. It will take place on Tuesday, October 20 at noon (note the time, as it is different from the usual 5 p.m.). A great opportunity, then, for downtown workers to spend their lunch hour in a cultural escape atmosphere. I spoke for a few minutes with Matthias Maute about this concert.
PanM360: What inspired you to have this encounter with Indian music?
Matthias Maute: With the Caprice ensemble, we have been leading the Classique Inclusif initiative for a few years now, which is precisely the meeting of several cultures on stage. It is part of our mission to create spaces where music is not only esthetic but also meets a social and human need.
I am an immigrant myself, and I was very well received here in Quebec. So, here, we experience a communion with immigrants and refugees who, by the way, speak for themselves during these concerts, with testimonies that tell their stories. We have built connections with these communities. That is the case with some concerts, in fact, but I have to specify that it won’t be the case for this particular one. Not enough time is allowed.
Anyway, this initiative began in 2023 and has become another way to experience music in communion with people and artists from elsewhere. Moreover, at Caprice, the two artistic directors are flutists. We had an additional interest in exploring what is done in other flute traditions.
PanM360: The European baroque tradition is very codified, Indian music is improvised (although with very précise codes as well, but profoundly different than their european couterparts). How do you connect the two?
Matthias Maute: There are a bit of both types of practice. We are in dialogue. There are moments for each of us, then others where we come together. The Classique Inclusif initiative also has a long-term goal, which is to create the music of the future. Since we live in a very diverse society, why not create music that is also diverse, with contributions from each side? Now, in the upcoming concert, it’s going to be more separated than we think. It’s also a bit like on the radio, you turn the dial and you get to another channel. It also represents our current life.
PanM360: In the joint moments, how will you integrate Indian flute sounds into your own sonic universe? You must have made some arrangements, right?
Matthias Maute: In fact, it’s mostly the opposite. We will join J.A. in some of the pieces. For example, there is a transcription that Zia delivered so that Caprice as a whole could join him. J.A., for his part, has a piece that, according to him, is focused on the influence of Bach. I don’t expect to make a musical revolution, but certainly a beautiful and astonishing encounter, which may allow us to create a platform for future meetings.
PanM360: There will inevitably be improvisation, because Jayant’s Carnatic tradition (the musical style of South India) is based on it.
Matthias Maute: That’s the idea. By the way, it’s a spirit that is generally lacking in classical music. We need to promote the idea that we don’t always have to climb Mount Everest and prepare for it for three years, and maybe die on the way back. We are all together in the kitchen preparing a meal we’ve never eaten before, and we hope it will be good for the people in the room.
PanM360: On the Caprice side, does that impose a certain flexibility?
Matthias Maute: We’re made for that. For years, we have been playing nomadic music from Eastern Europe, which has become one of our signature projects, as well as Latin music from South America. We are also used to stepping outside the traditional Baroque repertoire. We made an entire album with the music of Chopin and Satie. I think it’s important to continue experimenting. By the way, that means that in this concert, I will also play the violin!
PanM360: I didn’t know you played the violin, Mathias!
Matthias Maute: During my youth, I had two instruments, the flute and the violin. It’s the instrument I love, that I’ve always loved, but I’ve always kept it as a little secret of mine.
PanM360: Thank you for this interview
Musicians
Flute J.A.Jayant, Indian flute
Matthias Maute, flutes
Sophie Larivière, flutes
Lucie Ringuette, baroque violin First Violin, Ensemble Caprice
Tanya LaPerrière, baroque violin
Jean-Christophe Lizotte, baroque cello
David Jacques, baroque guitar
Ziya Tabassian, percussion
William Kraushaar, bass
Program
Airs for bass (The Cold Song, Wondrous Machine) – Henry Purcell
Canon – Johann Pachelbel
Air on the G String for strings – Johann Sebastian Bach
Marco Uccellini – La Bergamasca
Brova Vamma, by Syama Sastri (1762–1827)
Jagadodharana, by Purandara Dasa (c. 1484–1564)
Paridhanamicchithe, by Patnam Subramania Iyer (1845–1902)
Krishna, Come Soon, by Vyasatirtha (c. 1460–1539)
