It is contemplative music, which I thought would also work well with the work being exhibited at galerie Pluto. In these four pieces, Takemitsu also uses rich harmonies that create very colourful landscapes. Juxtaposing this idea of darkness as well as light is a way to put a veil on a scenario or landscape and was for me an interesting link between the music and the drawings.
One is left to guess and fill the gap of what light hides from us. As if too much light was blinding the person contemplating the scene. Many of your drawings displayed at galerie Pluto used light to “hide” the landscape or scenario that was being shown to the viewer. Shapes are unclear to the viewer, colours and contours are diffuse. The light scarcity of the late afternoon and evening hides things from us. Tōru Takemitsu based his work “ All in Twilight” on paintings by German artist Paul Klee bearing the same name. But at the end, what inspired me to play “ All in Twilight” at the vernissage were your drawings. I found a great orchestral and choral piece called “ Attis,” which in some passages reminded me of some orchestral pieces from Takemitsu. JR: When I was invited to play at the vernissage, I listened to the works I could find from your father, Robert Moevs.
Why did you pick this piece and what do you think is its relationship to my father’s music? For that event which took place in 2019 you performed “ All in Twilight ” by Takemitsu. MM: The vernissage for my drawings at galerie PLUTO also featured musicians performing music by my father, Robert Moevs, or music related to his music. Prior to COVID-19 restrictions, I would sometimes go to concerts three to four times a week-Cecilia Bartoli, Pat Metheny, Marcus Miller, Grigory Sokolov, and the Berlin Philharmonic-to name a few. I now live again in Cologne where I feel at home.Īnother reason I felt Germany was the right place for me to learn as much as I could about music was (because of) the possibility of listening to the greatest musicians of our time on a daily basis. Here in Germany I have had the privilege of studying with renowned guitarists Hubert Käppel and Franz Hálasz. I received my bachelor’s degree at the Musikhochschule in Cologne and afterwards, I went to Hochschule für Musik und Theater München (music and theatre conservatory in Munich) to complete my master’s degree. Six months later I found myself in Cologne. By chance, I met a violinist who was studying at the Hochschule für Musik und Tanz Köln (music and dance conservatory in Cologne) and he encouraged me to audition for the entrance examinations there. When I finished school, I started studying guitar at a university in Bogotá, but found myself wanting to go abroad. He was able to transmit his love for the instrument and music in general. Later on, I had a private guitar teacher nearby my house, who was not only a guitarist, but also a passionate guitar builder. My father gave me my first guitar lessons. I then started to play the guitar, since we already had one at home. That is where my interest in music started to develop.Īt the beginning I actually wanted to learn the oboe, but it was a very expensive instrument and it was difficult to find a teacher for it at the time. He also had a decent CD collection, so I had the chance to listen to a lot of classical as well as flamenco and Brazilian Music. My father is a talented amateur guitarist so I grew up listening to him playing classical guitar. JR: I come from Bogotá, Colombia and I’m 33 years old. MM: Can you tell us briefly about yourself, your background? How did you come to the classical guitar and how did your studies bring you to Germany?
Julián Restrepo in Conversation with Marina Moevs
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