“Improvisation on the piano is like gazing into the abyss and basking in eternal light simultaneously.” Vera Bohl, a distinguished pianist and composer, captures the essence of creative liberation and the infinite possibilities that lie within the world of improvisation. Born in Düsseldorf and honed in the eclectic milieu of London, Bohl’s career is a story of the pursuit of innovation and her connection to the art of music.
Now residing in Portugal, her upcoming EP “Carrossel” is an ode to the moments and landscapes that have shaped her recent explorations in sound. The release of “A Liberdade,” a reinterpretation of the timeless “Clair de Lune” by Debussy, promises to be a highlight of this collection, offering listeners a gateway into Bohl’s introspective mindset.
Vera embodies the essence of a true artist, a quality that shines through not only in her work but also in the depth of her thoughts during our interview. She has a unique ability to absorb elements from a diverse array of sources and transform them into something entirely new. Her deep well of experiences, shaped by the myriad people she has collaborated with and the various places she has called home, fundamentally guides her process of creation.
header photo by Kasper
Your new track is called “A Liberdade”. What does freedom mean to you?
In many narratives, the concept of freedom is intertwined with femininity, portraying women as embodiments of liberation and autonomy. Her from, a symbol of resistance against oppressive structures, challenging societal norms and advocating for equal rights. She makes it easy: her curves, contours, and subtleties, the fluidity and versatility of the female form mirror a canvas of nature and of freedom itself. Just as the body adapts and evolves, so too does the concept of freedom.
It’s a reinterpretation of Claude Debussy’s “Clare de Lune”. Why did you decide to work with this particular song?
In Terrance McNally’s ‘Frankie and Johnny’, as the original rendition of ‘Clair de Lune’ plays over the radio, moonlight bathes the characters in a perfect moment where music seems to hold all the answers and truths. It’s a poignant scene, depicting emotionally wounded loners seeking solace.
Through the reinterpretation of familiar melodies, in this case ´Clare de Lune`, here exists a natural prompt to interact with music in novel ways. I am peeling away layers within a familiar composition, akin to stripping away the Emperor’s new clothes. This process lays bare temporal and cultural constraints, inviting a stimulating exploration that transcends conventional boundaries of time and tradition. It’s like a game of peekaboo.
It’s really beautiful – melancholic and very powerful at the end, which I really like. What images come to your mind when you play the piece?
Thank you. The image is of landscape, a serene Salt Lake in Tavira located in the south of Portugal. Two lovers making out by the pink bay. A moment of fulfillment, but just as the piece progresses, so is the climax of this story. You, the listener, and me the performer, are reliving a final act of love, a moment of beauty, closure, chaos or pain a moment of catharsis. Maybe it’s the beginning of something new or the end of something. It’s all relative.
“Saudade is a vague and constant desire for something that does not and probably cannot exist, for something other than the present.”
Your current center of life is in Portugal. A country that is famous for melancholy and saudade. Where exactly, and why did you move there? And how does it influence your music?
I am so happy you bring up this wonderful word #Saudade. Aubrey Bell describes it beautifully: Saudade is a vague and constant desire for something that does not and probably cannot exist, for something other than the present. Portugal, a nation imbued with socialist ideals, where pockets of untouched beauty remain uncolonized and unpolluted, Portugal provides an environment rich in raw, undiluted sensations that my record found its inspiration.
I craved rawness; the embrace of big cities can sometimes cocoon you in a soft cloak, but this newfound vulnerability, left me feeling almost physically ill. Yes, it left me reeling yet ultimately led to a process of sublimation.
Incomming was an emotional blow-up of ID and Superego in the streets of Lisbon, with Nietzsche’s notion of ‘eternal recurrence,’ringing in my ears. Outcomming is my Carrossel EP.
You also spent many years in London. How has this time there shaped you the most music-wise and personally?
London exerted a profound influence on both me and my music. It played an immense role in shaping my ideas and journey toward womanhood and as a musician. The city’s diversity and adversity reflect the resilience and tenacity of its inhabitants. From its vibrant music scene to the various struggles and challenges faced, London provided an Olympic-sized swimming pool, brimming with opportunities and obstacles.
“Improvisation on the piano is like gazing into the abyss and basking in eternal light simultaneously.”
What connection do you still have to your home country Germany?
Apfelkuchen, Ludwig van Beethoven, Düsseldorf, Berlin, Brother Sister Mother Friends P*Nut, Clara Schumann, Berghain, Heinrich Heine U Bahn, Heinz Mack.
Improvisation plays a big part in your creative work. What fascinates you about it and what are your drawing out for yourself artistically?
Improvisation on the piano, though it may sound dramatic, is like gazing into the abyss and basking in eternal light simultaneously. This highly stimulating and free way of acting out, is a liberation of all things thought as well as a commemoration.
You did many collaborations mit famous names such as Celine Dion and Dido. I am a big fan of Dido, how was your collaboration with her?
Yes, working with Dido, was a pivotal moment. Back in London I was collaborating with producer P*Nut. We were immersed in creating Italo-inspired disco music at the time. To our delight, Dido loved one of our tracks, which eventually found its place on her album “The Girl Who Got Away.” One review described it as the sole danceable Dido song ever. I found myself in good company on the record, as the album featured artists such as Kendrick Lamar and Brian Eno. The track is titled “Love to Blame”.
“The concept of ‘successfully failing’ allows the transformation of setbacks into opportunities for growth, adaptation, and eventual achievement.”
What does success mean to you?
In Japan the blue hydrangea serves as a symbol of gratitude and understanding towards others, and I simply adore her. Despite my attempts to plant her in the Algarve, I’ve repeatedly encountered failure; evidently, this isn’t their ideal habitat or climate. The concept of “successfully failing” allows the transformation of setbacks into opportunities for growth, adaptation, and eventual achievement, regardless of the form or flower it takes.
As for what’s thriving there now? It’s succulents if you’re curious!
Where do you see yourself in around 5 years?
Perhaps floating in a giant inflatable donut surrounded by the people I love, in a world with less war and more compassion and love.
What does love mean to you?
Everything! Love comes in so many shapes and forms: pears or apples and in different intensities and flavor. If ‘Love’ were personified, I would invite her to any party including her cousin Lust. She can be patient and kind, bearer of all things, but don’t expect her to turn up on time, she may even stab you in the back. There is never a dull moment with her. Thinking of the tantalizing allure of sexting…to songs she inspired about ´Everlasting Love’. I´m sure, even if she leaves you and the Party looking like a smashed bowl of China, you can still find, see and make love from there. She can be fatal, and you may have to ask her to leave the Party early, if you don’t want Goethe´s Werther dropping dead to the grass at your summers garden party. She is a perquisite to something highly addictive. But how healthy you keep it depends on you…I mean, do you juice every day? Its sustenance lies in our own hands.
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