Interview with Trio Dali’s Vineta Sareika
We were invited all three as soloists two years in a row to the Santander chamber music festival. Actually we didn’t have the chance to play any note together at that time but we felt a very strong human connection and a solid friendship between us so we decided a couple of months later that it’s a pity to let it go and that we should start to build something together. At the beginning it was very difficult, we were living and still studying in four different countries – France, Germany, England and Belgium – so at our beginning we met regularly once a month in our middle point – near Brussels to work and study the trio repertoire with our teachers – the Artemis quartet in the Queen Elisabeth college of Music.
Who came up with the idea to name the trio after Chinese marble ‘Dali’? Is there a story behind this?
It took us a long time to find the right name for the ensemble. The Dali marble was interesting for us because of its beauty and the parallel with the music making process. To get jewelry from a rough dali stone you need to take time to work hard and take care about every millimetre of the material – it’s like when you see a piece of music for the first time – it’s just the rough material – you will need hours and hours to build it, to think about the construction and the interpretation of the piece. And at the end you have a hope to get a masterpiece. That’s the symbolism of our name.
How do you develop your own vision in every piece? Do you each work on your own interpretation first, or is it a collaborative process right from the start?
Sure, we prepare our parts individually first and each of us comes to the first rehearsal already with his own musical vision of the piece. We are lucky because most of the time we don’t need to fight or even to discuss the interpretation too long – our three visions are very close and we feel the music in a very similar way. It makes the rehearsal process much more fluid and quick.
As young musicians, do you think it is important to adapt music to encourage young audience engagement?
We think it’s very important to be constantly in contact with young audiences – to go to schools and take time to speak about music with children in a very simple and human way. It’s important that young people understand that the world of classical music is cool and accessible to everybody. The most important when you come to a concert is to be open minded and full of fantasy and imagination – it’s much more important than having a solid historic and musical education. It should come after, when the child already gets the magic of sounds by himself.
Can you choose a highlight of this program?
All three pieces that we are going to perform are so different from each other and have such an important place in our trio life that it’s difficult to say which one is our favourite. Both Ravel and Schubert trios are absolute highlights of the trio repertoire in general , we have played them a lot and what makes these compositions so incredibly rich and beautiful is that every single time we touch to this music, we can find new colours and interpretation ideas. The creativity that we can find with such genius music is endless! Regarding the Gordon Kerry piece, it’s a discovery for us and it’s very interesting to work on a composition by an Australian composer. We will discover it together!
Is there something in particular you hope audiences will take home with them after seeing your performances in this concert series?
Above all we hope that every person that will take time to come to our concerts will live an emotional experience and forget his or her everyday occupations or troubles. We would love to try to make people happier, make them feel at peace with themselves and just let the music be the best universal medicine for every single person, no matter his age, social background or nationality.
Using one word, how would you describe each of you?
Amandine – air
Christian-Pierre – earth
Vineta – fire