Name: Stefan Schultze
Nationality: German
Occupation: Composer, pianist
Recent release: Turbalento, the latest recording by the Stefan Schultze Septet, is out via Why Play Jazz.

Tool of Creation: Piano
Type of Tool: Keyboard instrument
Country of origin: Italy.
Became available in: The modern piano was developed around the  beginning of the 17th century

If you enjoyed this interview with Stefan Schultzeabout the piano and would like to explore his work and various projects in more depth, visit his official website. He is also on Instagram, and Facebook.



What was your first encounter with the piano? What was it about it that drew you in?  

My father played the piano as a hobby and I always enjoyed it very much when he played.

The sound of the piano accompanied me and it triggered something that has remained ...

Just like any other instrument, the piano has a rich history. What are some of the key points from this history for you personally?

I find the range on the piano exciting. It was more or less developed to create more bandwidth - at the time of its creation, more dynamic bandwidth than the harpsichord.

I am fascinated by the development of the piano and musicians who find new facets for it.
 
What, to you, are some of the most interesting piano recordings and -performances by other artists in terms of your personal development?

Although I suspect that no one probably associates this with my music at this point, my main influences were Bill Evans and John Taylor. I'm still excited about “You must believe in Spring” by Bill Evans.



When talking about electronic devices, we often think about their “features”. But the piano is a complex device, too. What are some of its stand-out features from your point of view? How would you describe its sonic potential?

On the piano, compared to some other instruments, it is so easy to first produce a sound, but it is - as on all instruments - very complex to sound good.

Personally, I am fascinated when I come across an instrument that suits me. One that inspires me because I like the sound and how it is tuned. Then it starts to resonate with me and that is a great potential for me personally.

Instrument design is an ongoing process. Are you interested in recent developments for the piano in this respect?

Yes, I am very interested in this. I think that despite all the music composed for the piano in the 20th century, there could be models with new functions. I would like to build my own instrument, but that is more of a dream vision at the moment.

I am constantly trying to explore tradition for the piano while working on perspectives that create tension for me with what I am exploring. This is not always easy.

After spending a lot of time with piano preparations and objects in combination with the piano, I have recently started working with transducer systems to have more control over microtonal pitch on the piano.

This is still very new to me and I don't know yet where this will take me.



Tell me about the process of learning to play the instrument and your own explorations with it.

I think I've always been more interested in exploring the instrument through improvisation than anything else, and that's probably still the case. So I'm always looking for ways to bring that idea in and keep it fresh.

What are specific challenges in terms of playing the piano?

I think a big challenge is really on the one hand, that so much has been done on the piano and on the other hand that the piano can sometimes feel so limited.

There are so many things that in comparison to other instruments you don’t have control over. When playing one pitch on a key, you have no control over the actual tuning and after the attack has been done, there is not much you can do either.

Compare this to the human voice. This can be very frustrating.

What interests you about the piano in terms of it contributing to your creative ideals? How do you see the relationship between your instrument and the music you make?

I think the connection is something I'm constantly trying to rethink. I have a split connection to the piano when it comes to composing. So I often try to think away from the piano as well.

How would you describe your personal style of playing the piano?

I hope others will be able to express this better than I can. I am constantly searching for new expressive potentials on the instrument and hope that this is reflected in my style.

What does playing your instrument feel like, what do you enjoy about it, what are your own physical limits and strengths?

I enjoy when the piano allows me to get into a state where I can express myself directly, where I can discover new nuances while playing and find something beyond what I expected.

Some see instruments merely as tools towards creativity, others feel they go hand in hand. What's your take on that?

For me, an instrument is much more than that. Instruments are in dialogue with time and society and they trigger so much more besides the sound they produce. I find it exciting that everyone can build different, very individual relationships with instruments.

Could you describe working with the piano on the basis of one of your pieces, live performances or albums that's particularly dear to you, please?

I recently recorded a trio album with American drummer Tom Rainey and Peter Ehwald. In this band I always played without piano preparation and we played compositions by Peter and me.

Since we unexpectedly had a day to record, we decided to record a free album and I brought my preparations to the recording. Due to the energy of not having any composed material with us, but still being in a great recording studio with a great Steinway D grand piano and a band that already has a common performance history, many unexpected things happened that certainly opened new impulses and I find this way of working inspiring.

The album hasn't been released yet.



How, would you say, does the piano interact with other instruments from ensembles/groups you're part of?

I try to contribute to the respective musical vision with what I have to say on the instrument. I think for me it always becomes more a dialogue with different characters than with instruments.

Are there other pianists whose work with their instrument you find inspiring? What do you appreciate about their take on it?

I could name a lot of pianists now, but lately I've been looking more to other instrumentalists for inspiration, mainly the Buchla synthesizer.

The last two years I've been working on a tribute to synthesizer legend Morton Subotnick and have 4 performances coming up, where Morton will also play a set on 2 of them.

First work results can be heard on the website of the buchla suite - Schultze Large Ensemble.