Interview with Gyöngyösi Levente, Inspiration is a strange concept….
By Andrea Angelini, ICB Managing Editor
Expressing his/her own inner world is important for a musician. He/she must learn to channel this inwardness through musical writing, performing a song, or with a personal interpretation. What do you think of inspiration and how do you live your relationship with the ‘Muse’? Basically, is there something that inspires you in a particular way?
Usually, inspiration for me is a very strange concept. Often, in the midst of very good conditions (quiet, serenity) it doesn’t work, and in poor conditions (on the street) it does. It is important, that profession can replace inspiration, otherwise not a single piece would be finished.
The art of sound, the expressiveness of the voice, the intensity of the message you want to communicate … what relationship do they have with the lyrics?
The lyrics are the most important parameters in a vocal piece. For me, the text is the most inspirational part.
When did you begin to realise that your life would be about music? Was there any particular event that made you feel the need to compose? What about your studies, and what was so crucial for your education?
I have dealt with music since I was 5. It was always clear for me that I could not live without music. My first “compositions” appeared when I was 10 years old – simply I listened to many, many concerts in Cluj, Romania (almost every evening) and I tried to write pieces myself too.
What are your main achievements?
When I was 24, my first opera won the 2nd prize in the Millennium Opera Competition in Budapest. Now, with my second opera (which is actually a musical!), I’m trying to find a bridge between classical opera and pop music.
Which activity do you dedicate more time to: conducting or composition? Why?
Unfortunately I am just a composer, not a conductor. Pity, because often it would be great to perform my own pieces. But maybe I am not suited to conducting.
Are there some works, among your own, which most represent you and your personality?
Te lucis ante terminum (a slow one) and Puer natus in Bethlehem (a quick one).
What is your relationship with the performers of the music you compose?
I always try to have a very friendly relationship with my performers. I absolutely need their supernatural energy and power to create my piece from the dead notes.
For who, in particular, do you write your compositions?
Mostly for Dénes Szabó, Pro Musica Girl’s Choir and Gábor Hollerung, Dohnányi Symphony Orchestra.
What are your future projects?
I have been composing my new musical-opera, The Master and Margarita for 2.5 years. Next year, in June, we will finally prepare the first performance in Miskolc.
Edited by Mirella Biagi, UK, Italia