Luca Sutto, Italian Composer
- تاریخ ایجاد در چهارشنبه, 29 ارديبهشت 1400 13:50
- بازدید: 72
By: Azad Karimi
It depends on what you mean by professional. For me, a professional is the one who manages, in the course of a year, to make a living only from music, living alone (not with his parents!) and paying his rent, taxes, and everything else.
Luca Sutto, Italian Composer
By Azad Karimi
Dear Luca, our friend the artist and musician, has written some interesting things that should be carefully considered in the interview text.
I have probably written about this cultural project (Facebook interviews ) philosophy before, but for me, each of these interviews has a special meaning and logic. So I tried to use to terms with the various elements that sometimes came to my mind subconsciously, I have written an introduction to these interviews ... Sometimes the subject of the introduction is unlike what is in the interview.
Rest assured, there is an acceptable logic behind this because I have tried to create spiritual order and harmony in order to convey the message of this project in the shortest and most selected words. This message is to create a bridge of acquaintance and emotional connection through cultural exchanges.
It may seem ambitious or imaginative, but I have learned that I have to face the challenges and do the good work I feel I need to do.
Luca talks about artificial intelligence in the part of his answers. Regardless of the advantages and disadvantages of artificial intelligence, , I would like to invite the dear readers of this interview to read about this.I'm not really good at this, so I'll get help from Wikipedia and bring a link here for your information. Please read the text of our interview more carefully after studying artificial intelligence.
I wish success and happiness to my dear friend Luca.
1- Please present yourself.
. My name is Luca Sutto, I am a composer and pianist, born in Genoa, Italy. I studied classical piano, jazz studies, and classical composition in Parma, and in 2019 I moved to Hamburg, Germany for an internship at HFMT Hamburg in multimedia composition. I currently live in Hamburg and work as a freelance composer, pianist, and teacher.
2- What is your artistic specialise?
. I started by studying piano (the old Italian course of studies used to last ten years), and in the meantime, I also became interested in modern harmony - which brought me closer to the study of jazz. However, I have always had a very instinctive approach to the instrument (at the beginning of my studies, although I already knew how to play at an intermediate level, I could not read music): I was improvising, varying, transforming, without distinctions between genres and styles. This is the reason why, after so many years, I completed my studies with composition, which represents for me the unifying element and puts me in touch - sometimes - with my divergent souls.
3- When and how did you become interested in music?
.I grew up in a rather drab county town, and at first, around age twelve - already too late to become anything like a concert pianist - my attraction to music was on a fairly intuitive level. I started with something like a toy keyboard that I happened to get in my living room: I was hearing music from somewhere, replicating it on the keyboard. It was a path that, if I had ever studied in a book, I would call self-taught.
4- Who was your motivator?
. No one, I had no idols, especially because I had no musical education in the proper sense and consequently I did not apply value judgments or hierarchical classifications if not through the instinctive response to the pleasure of listening and the act of playing. At that time, for me, J.S. Bach and John Williams were the same things. Today, after the ravages of life, I certainly consider myself much more conservative.
5- What was your parent’s reaction?
. I must be very honest about it: in this regard, I consider myself much fortunate. As long as it was an adolescent fascination there was no problem, but I imagine they asked themselves some questions when I decided to enroll in the Conservatory - so late, by the way: I was nineteen - and to pursue only that. All in all, I guess I was right.
6- When did you start as a professional artist?
. It depends on what you mean by professional. For me, a professional is the one who manages, in the course of a year, to make a living only from music, living alone (not with his parents!) and paying his rent, taxes, and everything else. It means that you have achieved economic independence through your activity, which then becomes your profession. In this sense, I think I have achieved this goal only a few years ago, and more generally since I have been living in Germany. If, on the other hand, you mean when I began to perform in public contexts of a certain significance, I imagine that I would find the answer by going back in time to about halfway through my studies, five or six years ago.
7- Are you thankful and happy because of your activities as a Composer musician?
.Infinitely sad and infinitely grateful. If you belong to that category of musicians who didn't become one because of external pressures, it means you chose your own "death." Being responsible for yourself is the highest degree of freedom you can aspire to, and no matter how much you may complain about the endless infamies of your craft, as soon as the opportunity arises you'll always be happy to break your back for the new job.
8- Why did man invent music?
.Imitation, play, boredom?
9- Why do some songs become immortal?
.I wouldn't know how to answer that other than with a series of other questions: immortal compared to what? At fifty years, at two hundred, at one thousand? How much does the lens of time magnify or shrink what has passed, conferring greater or lesser importance and sometimes generating the Myth? And doesn't that importance also depend on the aesthetics of the period that revives that music, as well as a plethora of other peripheral and incidental factors? Tradition is itself an artifactual and rather unique concept in that it is both overrated and tremendously underrated.
10- What are your prediction for the future of music?
. For the vast majority of today's audiences around the world, the very concept of music is applied to a world of artists, singers, producers, composers that no longer responds to the very definition of music, intended in the traditional sense, and its fundamental parameters. In short, most today's music is not music at all, or at least not as we learned it in school, and it responds much more powerfully to the sphere of social experience - or rather, the construction of social experience, as this narrative is then largely consumed in total solitude, with headphones in the ears. For the majority of the audience, in any case, music represents, at best, a non-contentious backdrop to the most boring hours of the day, like the commuting hours. I don't know if it would be utopian or not to expect a reaction in the next few years, but if it happens it will be something more vast than the music itself, it will involve the very definition of art.
11- Can you become part of a cultural movement to motivate young people or new generations in your country and so on?
.I don't reckon.
12- How can you help our world become a better place to live?
.I believe that, at least in the portion of the world from which we can, with a mixture of superficiality and sense of guilt, allow ourselves to ask this question, we already live reasonably “well” without the help of artists - in many ways music is already largely replaceable by artificial intelligence, if this is the level of craftsmanship to which art today aspires. I don't think we need more entertainment (entertainment from what, then?): maybe we should start searching for some discomfort instead.