PREPOSITIONS Korneel Le Compte - Royal Conservatory Brussels
As a musician, one is always a researcher. In "classical music" or in any other style, the musician cannot escape the "research"- aspect. Over the years I wandered from my original infatuation with pop and rock into the worlds of classical and "Ancient Music". But most of the qualities I need as a classical musician, I acquired in rock bands. Not at the conservatory. After three decades as an opera bassist, I "fell out" of this classical comfort zone. The direct cause of this change was the 2011 Japan tsunami disaster. I felt helpless. What could a musician do? This question pushed me towards a different way of looking at music and its role in the real world. Looking back, this insight must have been the result of years of unconscious processes, of frustrations with the often limited, self-serving world of classical music. Sometimes at the opera, it felt like pleasure had left the building. I started a Duo with the Viennese Violone and the Viola d'Amore, and we discovered the world of benefit concerts, of playing in hospitals and schools, of touring through the disaster area of Fukushima. I also embarked upon an Artistic Doctorate entitled Building Bridges, exploring the connections between, say, a historical approach, and bringing a moment of beauty and hope to people who never listen to classical music. Between what Quantz and Leopold Mozart wrote and how audiences today perceive music. The audience is the one factor that never seems to matter in music education. But without an audience, there is no music.