By Chantelle Constable
Emili Rackemann is a virtuoso pianist with seven albums and over 140 compositions to her name. Her ancestors Professor Frederic Rackemann and brother Ludwig of Germany consorted with Felix Mendelssohn and Clara Schumann during the mid-nineteenth century. As a child in the Australian outback, by day she patrolled the land and checked watering points in an old Land Rover and by night she wrote short stories and played the piano for her family, serenading them into another day. Here, in an exclusive interview with Classical Crossover Magazine, Emili talks about her inspirations and creative habits, her passion for electronic music, and vision for women in the arts.
How did growing up in the outback inspire you musically?
Given I was immersed within the rural environment, it wasn’t until our family sold the cattle station was when I realized how much the outback taught me resilience; to never give up nor think that anything was impossible.
When I have writer’s block, I frequently visit my inner child, the young girl who felt inspired to dream big, write stories in her father’s old brown diary and create simple melodies while daydreaming about horses. I will often ‘go home’ and upon reflecting on a simple memory of my childhood, I re-enter the present moment with a name or story I never would have thought to write about.
The outback will always inspire me to stretch the limits of sound and story-telling. It is a place where I can always refresh my creativity and dig deeper into many worlds.
Tell me about your quest to bring women composers into the limelight.
My quest is to share our beautiful raw ‘womanhood’ culture in a man’s world; to educate women that by embracing their essence, we also guide society into redefining what it means to be equal but also different.
Rather than crying out for acceptance, we need to rest our desperate plea to be noticed and instead, focus on being the feminine creators that we are. ‘Into the limelight’ I believe will appear when we have learned to let go of our personal subconscious struggles surrounding equality.
Who are some of your female heroes — from any career/field?
- Bjork, female singer/songwriter – for her artistry and exploration as both artist and human being.
- Lyn White, Animals Australia – for shining the spotlight on animal abuse both in Australia and abroad.
- Jane Goodall, primatologist and anthropologist – for her extensive work on conservation and animal welfare issues.
What is the most unusual source from which you have received inspiration?
Some years ago, my father told me a story about Kuru disease (laughing sickness), an incurable neurodegenerative disorder that was common among the Fore people of Papua New Guinea where he resided as a boy. After researching photos and footage of this terrifying illness, I later sat at the piano and composed what I would call ‘melodic turmoil’, signifying the horror these communities both witnessed and experienced. Within minutes, the confronting melodic frequencies brought about nauseousness, so I never recorded nor released it given its confronting tapestry of sound.
This creative experience did, however, consolidate my belief’s surrounding the power of sound and the incredible influence it has on the human mind/body.
What are your earliest memories of music?
My earliest memories of music are attending weekly singing lessons with my parents before we moved north to work on the station. I still remember singing up and down the scales while my parents were eagerly trying to focus.
I also frequently tormented my brothers while they practiced the piano, although little did I know this would lead me into a world of curiosity.
At age five, my parents decided to take me to weekly piano lessons, and by age eleven I composed my first composition titled, “Wars of Europe.”
What are some of your other creative outlets? Do you still write short stories?
Short stories and composition for me always work in unison. Without one I feel the creative process is lacking; although I’ve recently embraced a hidden passion for drawing. I use bright metallic pens and create different patterns which interlock and somehow seem to tell a story of its own. I call it ‘journey art’ as I assume it is reflective of what the subconscious mind wishes to express.
What is your practice regimen like? Any particular rituals, when practicing or before performing?
Leading up to a show I categorize a group of works for each practice session, and at approximately six weeks out, I like to rehearse the entire program at a slow tempo and without any sustain pedal. This exposes any technical errors which I would then single out ready for the next session.
My only ritual when practicing is having a chai latte beside the piano and ensuring my little pug, Gloria is tucked in bed and ready to lap up an afternoon of piano music. Life wouldn’t be the same without animals. She is my constant reminder that life is meant to be simple.
How would you define “classical crossover” as it applies to your music?
Although I consider my work as an aural tapestry of sound rather than one specific genre, I also feel “classical crossover” best describes the majority of my work, given my equal love for various genres. If one listens to Queens English followed by Van Vent Gogh or my upcoming release Elysian, “classical crossover” would be best describe my creative journey to its present. Not only does “classical crossover” reflect my music, it also has given me the opportunity to express myself visually in different ways.
At what age did you know you wanted to be a professional musician? Did you ever consider any other career?
Upon completing my first few compositions, my parents contacted the department of music at one of the local high schools, asking if we could look at their notating software. I remember walking into a room full of brand-new IBM Aptiva computers and MIDI keyboards and being overwhelmed by the fact I would soon be able to notate my music.
The lovely man who was head of the department asked what I wanted to do when I left school. My immediate response was ‘a composer. I want to write for film’. Although I toiled with the idea of practicing alternative medicine and becoming a professional horse trainer which, I equally committed to during and after music studies, music composition carved its way back into the front seat. It wasn’t until my mid 20’s is when I knew my childhood love for composing was a large part of my life purpose.
What music did you listen to while growing up; who are some of your biggest influences?
Country and classical music were the two most prominent genres I listened to when I was a child. Country music I naturally gravitated to because of my environment and those who surrounded me, although my parents loved classical music. I was always listening to Mum’s Pavarotti and Marina Prior tapes playing in the background. My parents always encouraged me to listen to and attend various concerts and musicals during my mid to late teens.
During my early adulthood, I was busy exploring the intricacies of music technology, having bought my first digital audio workstation at 18. During the day I attended lectures and spent a minimum of three hours locked away in a practice studio; while of an evening I would throw on my headphones and explore the ambient sounds of my Roland synthesizer, trying to capture that same feeling of freeness I felt when listening to eight-minute dance tracks.
Today I enjoy a mixed playlist, ranging from classical with composers such as Erik Satie, Sergie Rachmaninoff, Clara Schumann, and Prokofiev, although my love of dance and electronic music is still part of my daily mantra. Groups such as Hybrid, Massive Attack, Phaelah, Bjork, Trifonic and yes, Underworld and a Cafe Del Mar’s Volume No. 5 still get a look in.
Are you still an outdoorsy person? What are some of your non-musical hobbies?
Living in the Australian Alpine Region, I am accessible to an abundance of outdoor activities including skiing, mountain bike riding, kayaking, paragliding, hiking and of course running; however, in early 2017, a friend invited to me attend our local Shotokan Karate Dojo. Upon observing instruction, I was immediately drawn to this incredible art form and now train three times a week with my father.
My connection with horses has also played a vital role in my life. Having trained competitively in the field of dressage throughout my child and young adulthood, any opportunity I have to be with horses I jump at.
What are some difficulties, if any, you’ve encountered as a female musician and composer?
To be honest, I think the only difficulty is being in a world surrounded by subconscious religious conditioning. So much of classical music was written by men and for religious purposes and while the great field of secular classical has developed in its own right, it seems to be the core contributor towards division between male and female in a traditional classical sense. We have been conditioned to listen to classical music for thousands of years. I attribute a deeper understanding of classical music in more recent history to classical crossover, as the genre has helped define the undefinable for a much wider international audience. This has also led to a gradual transition where more women composers are being recognized. Classical crossover means many things to many people, but I really connect with the idea of “out”, like in free jazz. From a structural standpoint, I know traditional forms of classical composition and everything outside that range or ideas considered experimental.
As a female classical crossover artist, I use sound collage and nonlinear themes in my compositions. I love testing the realms of structure. The classical canon for me is incredible, but I create using it both as a launching pad and something to be challenged.
What advice would you give to young ladies (or young people in general) wanting to pursue music as a career?
Never let your past circumstances define your present reality. As Alan Watts describes, ‘You are under obligation to be the same person you were five minutes ago’.
Since hearing these words from such an incredible teacher, I have been more mindful about changing my past paradigms surrounding the stigma towards women in music.
Does playing a synthesizer / electronic music help you communicate in a different fashion than playing traditional piano?
Yes absolutely. Since my mid-teens, I have equally loved electronic music. I am fortunate to have a digital audio workstation where I compose both piano and more cinematic compositions. My husband and I also write electronic music together, therefore I often feel inspired by what we do. I think the two genres dovetail beautifully.
Describe your creative process. About how long does it take you to finish composing a song?
The duration varies. Sometimes I compose a work within minutes. Other compositions require more technical detail; therefore, it can take up to a week.
My creative process tends to vary quite a lot. If I am inspired by a story I have read or a documentary I have watched, within minutes I will go to the piano and start composing.
Lately, my entire mind and body have almost become entranced in a meditative experience. At present I’m gravitating to Middle Eastern music, therefore my whole experience on the piano turns into a melodic mediation. That said I’m sure next week I will be drawn to another musical genre, story or culture, and again my music will take another turn or tell another story.
Who would you like to collaborate with, and why?
Hans Zimmer – for his adaptability and penchant for collaboration. It is difficult to characterize his style with a single example, hence why I would be honored to share my work with such a humble character.
Bjork – for her ability to constantly push herself into unknown territory. If there is one women who knows how to embrace womanhood, it would be Bjork.
Hybrid Soundsystem – I have always loved this group. They are true pioneers of the electronic genre, although have also mastered the art of orchestral sound with their cinematic approach to production.
Nils Frahm – When it comes to emotion, this stunning composer/performer truly captivates one’s soul. I would love to work on an album with Nils. Working with someone who understands simplicity is the most powerful tool, would be a beautiful and humbling experience.
How did you discover your musical style, and how has it evolved over the years?
I think having the opportunity of living both in the outback and in cities has led me to where I am in terms of musical style. I find when I discover another layer about myself, my musical style tends to embrace another fragment of what is never-ending. I remember a student asking me, ‘did you create the music or did the music create you?’ Still I keep asking myself that question.
What message or vibe do you hope people take away from your music?
There are many messages I would like to translate to my audiences, although most importantly I wish to give listeners an opportunity to visit different worlds, perspectives, emotions and most of all, experience a moment where they can reflect on their own journey. Music is a powerful conduit for communication between individuals, so if I can take a small role in leading humanity towards their true identity, I am fulfilled.
Have you released all of your albums as an independent artist? What are some of the lessons you have learned in that process?
Yes, I have, and it has come with quite a few valuable lessons. Resilience and patience are the two words which best reflect my personal growth throughout this process. Leading up to my first album release, I paid a large sum of money to a graphic designer who was going to do a website for me. Unfortunately, it was not what I was expected, nor did I like not having the opportunity to share in the artistic design.
After throwing away a few thousand dollars with nothing in return, I decided to throw myself in completely and take full reins of the project – from web design to posters, CD artwork, bookings, marketing plans, recordings and mastering, I managed to be the one stop shop in service to myself.
It hasn’t been an easy process, although it certainly has been rewarding. Knowing I can always rely on myself at any given time gives much comfort.
Have you had a favorite teacher? What was some advice they gave you that you still cherish?
There are many teachers who have directed me along the way, some of which aren’t related to music as such, although in all each person has given me a gift – either to learn by someone’s frailties or become the frailty itself.
What value do you believe music has for the world in 2018 and beyond?
Despite mainstream media’s fear-based motives, I believe we live in a world full where there is incredible beauty, creativity, and abundance. In my opinion, I feel music has been and will continue to be the ingredient which people gravitate to for a sense of belonging and validation. Where all else fails, music won’t.
Would you like to share anything about your upcoming project, Elysian?
Elysian has been a special part of my musical journey. Inspired by the Elysian Fields of ancient Greek mythology, my love for all things beautiful is captured within this album. From the depths of ancient Egypt and Greek mythology to the beautiful landscapes of Mongolia and Africa, Elysian reflects the ‘beauty of all things beautiful’.
Follow Emili at emilirackemann.com