Five Questions with... Benjamin Appl

What is the inspiration behind your new album?

For a while I have grown fond of creating recital and recording programmes which are a reaction to the time in which we are living. Art song provides us with something rooted in the past whilst at the same time it gives us, due the combination of music and poetry, the opportunity to breakdown the essence of those songs into emotions. These are feelings which we carry inside us all, and which makes this repertoire relevant for us in the modern day. In my recent album Forbidden Fruit, I wanted to somehow illustrate an arc from the beginning of humankind right up to the 21st century, using a theme which is present in our daily life and to every one of us. The album explores boundaries and limits: some of those we must accept whilst others we push further and further. We may all occasionally choose the ‘wrong‘ path, despite being aware of the potential consequences and in doing so, may find ourselves in a similar internal conflict as Adam and Eve: tempted by the possibility of gaining new life experiences – eating the ‘forbidden fruit’ – that promise us something unknown and exciting. So many writers and composers have fascinated by this, and it is therefore unsurprising that there is much poetry and music that has drawn inspiration from such strong themes. It was wonderful to go on this journey myself, and to collect the right repertoire for this rather unusual album.

What are five of your favourite records of all time (any genre allowed)?

(Almost) Complete Schubert Songs: Dietrich Fischer-Dieskau and Gerald Moore (Deutsche Grammophon)

30 Jahre Palast Orchester – Ich hör so gern Musik: Max Raabe (Monopol Verlag)

Bach: Thomas Dunford (Alpha Classics)

Allegri – Miserere: Tallis Scholars and Peter Philips (Gimell)

Abbey Road: The Beatles

You may have heard the aphorism, "Tradition is not the worship of ashes, but the preservation of fire." What are your thoughts on the relationship of innovation and tradition in classical music?

This is a tough topic that I often find myself questioning. Sometimes when I walk on stage, I feel that we are something akin to puppets, performing music in the same way as people have done for 80 years or more. There are almost no influences from our modern day on the way we currently present classical music and we have to question what impact that has upon our audiences. I then feel torn, as bringing classical music to the present day must be undertaken carefully, and without force. We have to bring our already devoted and loyal audience members with us, gently, whilst opening ourselves up to new classical music concert goers. It Is a very difficult task, but I think increasing numbers of musicians understand the need to find a balanced way, somewhere in the middle. Fundamentally, classical music, as with any music, should always represent something inclusive and not push people aside or away.

Creating music can be both a solitary and a social activity. Can you tell us about the importance of community and/or collaboration in your work?

On an almost daily basis, an artist experiences both solitude and community. Traveling and performing internationally on a regular basis has certainly given me both the luck and curse of experiencing both sides. One has to build and maintain a strong psychological condition to deal with the free fall between standing on stage with the attention of a big crowd and the abrupt shift to sitting alone a few moments later in your hotel room in complete silence. Although solitude can certainly be wonderful, I must confess that I particularly enjoy travelling with ‘my’ pianists, with whom I get on so well and who have become close personal friends. This companionship on the road creates a bond of togetherness (particularly when you experience new places - which is always nicer when you can share these moments) but also once on stage with someone you trust, this gives you the feeling of such confidence together. Time and again, I feel that the piano and pianist behind me on stage provide me with wings – they help me fly and they also protect. That feeling can only be created via true collaboration.

Which artist – dead or alive – would you most like to work with and why?

I would love to share a glass of wine with Franz Schubert and his friends in Vienna and experience the atmosphere there at the time. This must have been quite special. I always put Schubert on top of my favourite composers list - his music speaks honestly and directly to me, without any attempt to manipulate or impress. All frippery is put aside, and Schubert’s sentiments reach me straight into my heart.

Forbidden Fruit is out on IDAGIO now.