Minds Behind the Magic: Tim Hennessy

How do our concepts come to life? What makes our collaborators tick? Our newest team member Lynette Chong uncovers this in our new blog series, Minds behind the Magic, as we work towards Trailer Music II at Melbourne Music Week

First up, our cellist - Tim Hennessy.

 
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*Lynette: Tim – you are a core member of the team! Having been part of Trailer Music I and now Trailer Music II, how has being on this journey with anon. been? What is the draw – that you are back on board again for Trailer Music II?

*Tim: In short, it’s the music. I’ve been fortunate to perform some of the great Piano Trio repertoire - however anon. is about more than presenting the standard repertoire to accustomed audiences. Through collaboration, anon. presents existing and new music to people who are perhaps less familiar with the traditional classical music experience. With so many more creative minds coming together for the Trailer Music projects, the music is given the chance to be expressed and experienced on more levels. 

This is made so much easier with the music of Nicholas Buc. His mastery of style makes his work highly effective and immediate; wonderful for these projects!

 
 

*L: Trailer Music pushes traditional music and film boundaries – it is innovative and breathtaking in such a longstanding industry. Are there any fellow musicians you think share anon.'s vision to move in this space between traditionally delineated areas, and what do you like most about their approach?

*T: I hope all musicians want to share the music they love, be it someone else’s or their own, with other people. Nicole, Thomas and myself have been lucky enough to be exposed to some of the great music of the past and love showing it to new audiences. We know it’s great, but it can be a challenge to present it to the next generation in a form that’s relevant to them. I admire most anon.’s way of making old and new co-exist, as well as their incredible drive!

I also love what 2Cellos have managed to do - apart from mastery of their instruments, they perform music that today’s audiences have grown-up with, and then present to them the music of the classical tradition they studied in the same arena. 

Creating visuals to a piece of music is not a new concept, but the Trailer Music projects are unique in that so many creative minds are expressed liberally in the final production. By also presenting an earlier musical masterpiece shows that there is plennnty of room in that ‘space’ you mentioned. It’s a great space! I also like how control and freedom play against and with each other - from the pressure and control of the recording studio, to letting different people interpret the music in different ways. Putting a time limit on this process adds excitement and risk!

* L: What was the most important lesson you had to learn that has had a positive effect on your music? How did that lesson happen?

*T: So many still to learn! I was very fortunate to spend time learning from cellist Evangeline Benedetti in New York a few years ago. I won’t mention what began a certain important conversation, but it ended in her saying:

 “Music is not a luxury, it is essential”.

Catch Tim in action at Melbourne Music Week!

Trailer Music II - 12 & 13 Nov 2016, 8pm. Bookings online here.