Interview. Marianna Liik acaba de ser galardonada junto con Josep Planells Schiaffino con encargos por la 2019 Roche Young Commissions para componer nuevas obras. Wolfgang Rihm, director artístico de la Academia del Festival de Lucerna, seleccionó a jóvenes artistas, que fueron recibidos oficialmente en Roche el pasado 4 de septiembre. Liik y Planells Schiaffino compondrán una obra para 2019, en la que trabajarán durante el verano de 2018 junto con Rihm y la Orquesta de la Academia del Festival de Lucerna. Enhorabuena Marianna! Marianna Liik has just been awarded along with Josep Planells Schiaffino with commissions for the 2019 Roche Young Commissions to compose new works. Wolfgang Rihm, artistic director of the Lucerne Festival Academy, selected young artists, who were officially welcomed at Roche on 4 September. Liik and Planells Schiaffino will compose a work for 2019, in which they will work during the summer of 2018 together with Rihm and the Academy Orchestra of the Lucerne Festival. Congratulations Marianna!

 

"Exchanging experiences between the worlds of music and science, communicating with each other, finding common and different characteristics – this complements the representatives from both areas."

1. Ruth Prieto: You has just been awarded a commission by the 2019 Roche Young Commissions. What can you tell us about that?

Marianna Liik: That commission is very important to me. I just graduated master's studies in the spring and I'm starting to step into a real composer's work field. This option is an excellent follow-up to the end of the school, encourages me, and doesn’t let sit aimlessly. Writing for the symphony orchestra, understanding this complex organism and learning how to use it has always fascinated me. Of course, it is also very surprising that I am one of the selected composers for this comission, I am lucky to be noticed.
 
2. R.P.: The Roche Young Commissions was created as a partnership between Roche, the Lucerne Festival and the Lucerne Festival Academy. What do you think of this kind of collaboration? Are they a good idea?

Marianna Liik: I had a really nice trip to Basel, Roche. They organized one full day especially for me and Josep. They introduced us the Roche Company, its history and how the company works. Two scientists introduced us to the nature of their work and we had a fascinating tour to the Tinguely Museum. I like Roche's mindset a lot – how they perceive culture and see art and music as part of the science world, especially contemporary. Exchanging experiences between the worlds of music and science, communicating with each other, finding common and different characteristics – this complements the representatives from both areas. The visit to Roche was really inspirational for me. I can't put it to words how exactly it affected me, but somehow on cognitive level I got something important. Certainly I got curious and I would like to know more. A peek into another world helps to expand your mind, gets you out of your field for a moment. During the work process, I usually don’t see further from my score and because of that this kind of cooperation’s are necessary for me.

 

"I fantasize that this cooperation could also find a very specific output one day, such as a performance where music and science go hand in hand..."

 







3. R.P.: In this case, the prize is very special because it represents a commission for a work: are there any conditions, instrumentation or is it complete freedom?

Marianna Liik: I know the maximum size of symphony orchestra from which I can choose the instrumentation I need. Of course, there is also a timeline for rehearsals and dates when the score and parts are needed.
 
4. R.P.: Do you have any idea what you would like to do?

Marianna Liik:I already had to introduce my initial ideas in the application form, so I have something in my mind. But I often don’t stay to initial thoughts, so it's too early to talk about it.
 
5. R.P.: Where are you now as a composer?

Marianna Liik: I have been given a brush and I know that the wall must finally be completely painted, but I do not know where to find the color and how to paint it, but I might already have a hunch.
 
6. R.P.: What is your creative process when it comes to tackling a new work?

Marianna Liik: At the beginning of the new piece I can't get myself going. It takes a lot of time and consideration before I can get started with the work. At the beginning of the creative process I usually don’t know how the whole piece is going to be, don’t know all the details about the form, structure, conception. I am not one of those composers who couldn't start one's work before they hear or know the whole piece in their vision. In spite of that the birth of an idea for new composition takes relatively long time. In an abstract level, I have to find the reason that makes the birth of new piece possible. Of course, everything depends on the length and extent of the work. I'm not worried that I do not know everything about the composition at the beginning of the process.
 

"I like to see how the piece starts to live its own life. But it takes time and a lot of work to make it happen."

Lately, in the initial phase, I write down all the words that suddenly come up in my mind on a white paper. These are usually about the structure, form, sound colors, techniques of the instruments, they may also be just adjectives, figures, patterns. Often, there are so many thoughts accumulated on the paper that I cannot subordinate these ideas to a specific work. Then I start to select from a set of thoughts. I try to figure out and sense which ideas to use for this particular piece.
 
7. R.P.: How do you see the current panorama of contemporary music in Europe?

Marianna Liik: I am still discovering it and trying to seize a bigger picture. Although the picture is various, it seems that, on some bases, tendencies can be grouped, like it has always been. But everyone has the desire to your own truth. The same for me. I never think where exactly I belong, I rely on my inner voice. Of course it is affected by everything that is around us, what speaks to and influences me.
 
8. R.P.: What are your next projects?
 
Marianna Liik: Currently I am finishing a new piece for Schallfeld ensemble for Afekt Festival – Estonian Composer’s Festival curated by Monika Mattiesen. The premiere is in the end of October in Estonia. After that I am going to write a small piece for female choir. I have also interesting project coming with Estonian National Choir, where I have been asked to connect choir and electronics – I have always wanted to do that. Last year we organized with producer Leika Leemets really special performance “Commentarium” (winning work of Eesti Kontsert competition for young producers 2016) and I really hope that we have chance to introduce it in abroad as well in next years. But let see how it’s going. And of course I should start dealing with Roche commission in parallel immediately.


 

---

In 2017 Marianna Liik graduated Master’s studies in composition at the Estonian Academy of Music and Theatre with Helena Tulve and Margo Kõlar. She obtained there Bachelor’s degree in 2014 under the tutelage of Malle Maltis and Margo Kõlar. 
 
Marianna Liik has written music for orchestra, ensembles and choir as well as electronic works. Her special interest is the sound world that is created by combining the acoustic and electronic means of expression. Liik's music has been performed by Olari Elts, Estonian National Symphony Orchestra, Uusinta Ensemble (Finland), Laura Remmel (vocal), Theodor Sink (cello), Eda Peäske (harp), Aare Tammesalu (cello), Arvo Leibur (violin) and others. Her works has been in the program of many festivals in Estonia, as well as in USA, Poland, and Germany.
 
Marianna Liik’s composition Mets (Forest) was awarded the second prize at the International Rostrum of Composers in Prague in 2013 in the category of composers under 30 years. In November 2014, Marianna Liik won the Westdeutscher Rundfunk film music award at the competition SoundTrack_Cologne 11. The project "Commentarium" by Marianna Liik and Leika Leemets was the winning work of EK: Labor 2016 (Estonian Concert's programme for young producers). Liik has taken part in several masterclasses with Wim Henderickx, Fausto Sebastiani, Daniele Bravi, Bryan Christian, Niels Rosing-Schow and Ivan Fedele.