Vera Bohl delivers a beautifully soothing, melancholically cinematic and with a with a hint of improvisation, solo piano piece.
Describe your sound in 3 words
Ambient, sentimental and resonant
Your upcoming EP, ‘Carrossel,’ focuses on the theme of solo piano and the art of improvisation. Can you tell us about the inspiration behind this project and how the idea of exploring improvisation in a solo piano context came about?
With the advancement of artificial intelligence and its increasing presence in creative endeavors, the question of what it truly means to be human becomes more pressing. In this context, improvisation emerges as a vital aspect of human expression—spontaneity, unpredictability, and personal interpretation.
I’ve found myself pondering the concept of correpetition and its implications for artistic expression. In the world of classical music, we often adhere to established interpretations and notation. Improvisation offers a pathway to authenticity and connection, allowing both creators and audiences to engage with music in a dynamic and immediate way. Improvisation on Solo piano is a means to being, something primal and essential—an expression of what it means to be human! It’s a celebration of individuality and the unbridled spirit of exploration. In a world where technology can sometimes overshadow our humanity, I’m taking my pièce de résistance at the piano, keeping it raw and unfiltered in expression. It’s my attempt to foster a sense of shared humanity and connection through music.
Favorite piano composer?
Only one? Chopin, I find myself most drawn to time and time again.
If Claude Debussy were alive today, what kind of music would he produce?
Debussy, once hailed as “the master of mood and atmosphere,” envisioned in a modern context, might find himself intrigued by the possibilities of electronic music production. Imagine him experimenting with synthesizers like the Juno or Jupiter, sampling recordings from artists like Yusef Lateef.
Your career has taken you from performing with Bon Iver to collaborating with artists like Dido and Celine Dion. How have these collaborations influenced your solo work, especially in the context of the upcoming EP?
Collaborations and interactions, whether they take the form of musical partnerships, physical encounters, mental exchanges, or spiritual connections, hold immense power in shaping our identities and perspectives. These interactions, regardless of their duration or scale, contribute to the ongoing narrative of our identities, much like a constantly evolving tapestry of our lives.
When we engage with others, we expose ourselves to diverse viewpoints, experiences, and possibilities.
My upcoming EP is a synthesis of past inspirations within the contemporary landscape. It’s a nod to the roots that have shaped my musical identity, yet firmly grounded in the present moment. Ultimately, it’s a testament to the timeless nature of music—a medium that allows us to connect with the past while paving the way for the future.
Your philosophy on improvisation centers around living in the moment and capturing the essence of creativity and self-expression. Can you share a specific moment or experience where improvisation played a crucial role in expressing something deeply personal or emotional for you?
Life resembles one big improvisation. While some people meticulously organize their days with color-coded planners and detailed routines, I’ve opted for a more jazz-like approach in recent years. I tried to adhere to some linear plans, but I encountered hurdles along the way—moments that felt like hitting sour notes. As I jot down these thoughts, I wonder if my aversion to making concrete plans stems from a fear of potential disappointment. After all, who’s to say that “wrong” notes can’t lead to beautiful harmonies? It’s a realization that we all have our unique ways of grappling with life’s twists and turns.
Living in the moment has allowed me to embrace authenticity wholeheartedly. This mindset has liberated me from filters. What you see is truly what you get—presence, honesty…anunapologetically version of myself.
If the music of Vera Bohl was a film, which film would that be?
“La Piscine,” the 1969 film set in one house and its swimming pool, embodies self-destructive voyeurism and minimal dialogue with little wardrobe. The characters navigate the tension of getting away with their actions. The act of evading consequences sounds and feels a little like improvised music.
Something not many people know about you is..
I get way to excited about lemons …
Thank you!
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