Hailing from Switzerland, composer and instrumentalist Jonathan Stich captures the beauty of nature with his album, “Landscapes.”
Classical Crossover Magazine (CCM): Jonathan, tell us about the inspiration behind Landscapes?
Jonathan Stich: The album “Landscapes” describes a journey through mystical places. My music is often inspired by nature and landscapes that evoke emotions in me. With every composition you are invited to visit a new place and every place is associated with a different mood. The journey leads through gloomy forests, glacial heights, misty valleys, and green meadows.
The album can also be seen as a journey through life. Sometimes you travel alone, sometimes in company, sometimes the way is rocky and sometimes it’s just a peaceful stroll.
I refer to my music as cinematic chamber music. With each piece, I try to paint a picture and tell a story.
CCM: Who are some of the musical artists that have influenced your sound?
Jonathan Stich: I have an extremely broad range of musical interests and can get enthusiastic about artists from all different kinds of genres. I think you can hear that in my compositions.
For me, a good melody is the most important thing in music and I think that Brahms is the king of beautiful melodies. Tchaikovsky’s way of telling stories and bringing fairy tales to life with his music is something I absolutely adore. And Ralph Vaughan Williams creates moods of landscapes like no other.
Other inspiring composers are Jason Robert Brown, Rodgers and Hammerstein, Alan Menken, Lynn Ahrens & Stephen Flaherty, Mika, and Ingrid Michaelson.
My first contact with classical crossover music was as a child with “Rondo Veneziano”. I wouldn’t describe it as a direct influence, but back then I was very fascinated by that kind of music.
CCM: Tell us a little bit about your process of composing?
Jonathan Stich: First, I need to get inspired by a place, a story, or even by a person so that I can get a rough idea of the structure for the piece. Next, I try to create atmosphere, expression of feelings, and pictures on the piano. My composing happens on an emotional level. For me, it’s not an analytical or mathematical process.
The compositions are in the works for a fairly long period of time. Therefore, I can always reflect and refine or revise the music.
CCM: You collaborate on this album with Iris Ewald-Tillner, Alexandra Imlig-Schweighofer, and Martina Lory, what are some of your favorite things about these artists?
Jonathan Stich: The aspect of playing together is a very important part of music for me. That’s why I write all my compositions for more than just one musician.
Violinist Iris Ewald-Tillner and I have been performing together for many years and we feel a deep connection while making music. I love her power and her spirited playing. Martina Lory, with her mesmerizing voice and her devoted and heartfelt singing, is one of my very favorite singers. And I adore cellist Alexandra Imlig-Schweighofer’s sensitive and expressive playing.
I’m very lucky that I was able to record my album with wonderful musicians and dear friends.
CCM: The album features poems from Sara Teasdale. How did you first discover them and did you approach writing those tracks any differently?
Jonathan Stich: I love the genre of the Kunstlied and so I wanted to set poems to music as well. I was looking for a non-contemporary female poet, whose language feels modern and fresh. A friend told me about Sara Teasdale and I fell in love with her work immediately. She writes about nature, beauty, love, evanescence, and infinity, motives that can also be found in my music. I set some of these beautiful poems to music and transformed them into poetic soundscapes. The result is a song cycle for mezzo-soprano accompanied by violin, cello, and piano.
You’ll find lots of elements of sound painting in the songs, for example in the form of a singing sparrow or an upcoming snowstorm.
CCM: “Manderley Suite” is based on the famed novel/film Rebecca. Can you share some of the story elements you chose to include and how you brought them to life musically?
Jonathan Stich: The Manderley Suite for violin and piano is divided into five movements and illustrates powerful aspects of the story.
The book starts with the famous line “Last night I dreamt I went to Manderley again.” This is the inspiration for the first movement “Reminiscence”. The musical theme for Manderley and the leitmotif of Rebecca are being introduced. The latter will appear through the whole piece, as in the book where the title character dominates everyone who enters Manderley.
This second movement characterizes the protagonist. As the story develops, the young and insecure woman matures and becomes a strong character. Her musical theme starts very light and delicate and turns powerful and determined to the end.
In the third movement, we hear the love theme as an interplay between exuberant joy and grave doubts.
The fourth movement describes the titular mysterious mansion. The melody follows the long driveway, passes wildly sprawling rhododendrons, and arrives finally at Manderley. The estate presents itself in its full splendor. Rebecca’s presence overshadows the beauty and transforms the grand estate into a sinister prison.
The final movement is called “Fire”. All the before-heard musical themes flare up.
It ends with Rebecca’s leitmotif but this time in a major key and a more relieved tone. All that remains is the memory of a beautifully mysterious place.
CCM: For your own enjoyment, what are some of the favorite places you have or wish to visit?
Jonathan Stich: One of the most magical and inspiring places I have been is Tjolöholm Slott in Sweden. It’s a Tudor-inspired castle by the sea, surrounded by a fairy tale forest.
Other places I’ve visited and love are the tidal island Holy Island in England, the Finnish countryside, the cities of Vienna and San Francisco, and the Au Peninsula in Switzerland, where I wrote some of my music.
I’d love to visit Norway to see the northern lights.
CCM: Do you envision Landscapes coming to life in live concerts?
Jonathan Stich: We’ve played an album release concert. It was a wonderful and uplifting experience. Now I’m planning more performances for next year. The music wants to get out into the world.
Stream Landscapes on Spotify now!
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