– Manticornio
team thanks you for the time in order to answer to this interview.– It is a pleasure for me.
– Then, let's begin. You are known as part of AFTER CRYING and TOWNSCREAM bands, but less known as a soloist. Please, tell us about that less-known phase.
– Presently I work with a string quartet named KAIROSZ. We play instrumental music in a piano quintet setting. Our repertiore is more or less ready, however new pieces and arrangements are continuosly born (an example for the latter is Toxicity from System of a Down). From my "private" compositions, I regard my Requiem and Consolatio (choir piece written for psalms and Origen texts) the most important ones.
– I imagine that as composer, your reward for playing sounds that were 100% conceived by you is high, but are you playing what you want to play? I mean: do you feel 100% satisfied with your goals as soloist?
– My solo concerts are nice memories for me. From my solo CDs, I regard Music for Piano the most perfect. I don't have any feeling of lack—perhaps only that my solo concerts reached too few people.
– What you got from bands you belonged?
– Good question... I have to confess that I didn't think of it too much. I shed what I am already over, like a snake its coat, be it a band or a phase of my composership.
– Church organist. What about this topic?
– It is very important for me! Most musicians are stressed when they have to play in front of a famous personality—who usually are more "famous" than "personalities". But: is there a more beautiful vocation than playing for God himself? Concert = contest. Liturgy = service. And, I would surely miss this service from my life.
– To born music or to make business with music.
– There is no greater joy that is felt over a well composed piece. My freedom is more important for me than being a well profitable piece of product on the shelves of a supermarket store.
– Which is the album that gave you the greatest satisfaction, and why?
– I have favorites from all of my albums but there are some objections regarding all. As I have mentioned, I regard Music for Piano the most perfect among my solo CDs.
– Your compromise as composer: is finished with the music?
– There are so many bad examples... Making compromises systematically leads to a slow but certain death of music.
– In the context of musical genres, where is Csaba VEDRES?
– I regard myself a contemporary composer who is happy with his rock background, but I must say that nowadays this not really engages me. My final aim would be to hear my pieces on the stages of classical music. If Verdi lived now, his music would certainly be classified as "light music" because of his haunting arias.
– Which will be your own definition about progressive rock? Or art rock, you choose.
– Well, for me, progressive rock is the top product of a certain musical period (approx. 1969 to 1976), over which the time has passed. That kind of heroic romanticism which characterised those beautiful pieces like Epitaph, Starless, Trilogy, Endless Enigma and so on now became uncreditable. I especially don't like retro and the "previously unpublished recordings" of the big ones. I see business, artistic impotence and an unability of facing the present in these.
– Which are your plans for the future?
– Working with Kairosz, composing string quartets, finishing my Requiem, composing a piano and a violin concerto; and, my great dream: the Passion.
– I thank you again for your kind time. You have white letter to add what you want.
– Thank you very much for your kind interest! I would like to add one thing. I feel a great possibility of the renewing of the contemporary classical music by the genre represented by Arvo Pärt and Vladimir Martynov. These two excellent composers show up the fragmented nature of our age without their music being unaccessable. Their music is just very beautiful!
With regards,
Vedres Csaba
5th January, 2006, Szentendre
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