Kirill Richter talks upcoming epic concert ‘The Sands of Time’: “It’s vital to make music that reflects people’s lives”

The internationally acclaimed piano virtuoso and composer returns to London for the British premiere of his latest epic concert, performed through a lavish montage playing at the Coliseum for one night only. Guillermo Nazara chats with the artist, to learn all the fun facts about a piece that goes beyond every sense and genre.

How does it feel to be performing your latest concert in one of the most iconic venues in the heart of the West End?

I’m very honoured. Consciously, I know it’s something very special. However, I still don’t feel it completely. And I think it won’t fully hit until I’m on that stage on Wednesday. I just try to enjoy it, anyway. I feel grateful for the opportunity, and I’m very amazed that something like this has happened to me. I love London and how much culture it offers. It’s also a great part of my career – one of the latest ballet creations I worked on was developed in tandem with Marco Goecker based on one of William Shakespeare’s works, which was a monologue from As You Like It.

What is the story behind The Sands of Time? How did you come up with the concept?

We’re trying to convey a narrative along with the audience. It’s about the ancient voices of Asia – a place I find so deep and spiritual. I really wanted to highlight this – so to me, it feels like a dedication. In some way, it’s some sort of time-travelling experience. That’s why it’s so important to me to combine contemporary traits with a classical canon. With the closing piece of our repertoire, which is the title number, we will be combining a symphonic orchestra with traditional Asian instruments, as well as singers. And the whole concert will also include poetry, all put together to create a story presented in the abstract.

By the sounds of it, it seems as this is a genre of its own…

I would love to think of it like that. My general aim has always been to put something else for people apart from music. Of course, all of these elements play to the music. This is not a gimmicky show. We wanted to combine the expertise of different artists to make something rich. I also have a background as a designer, so to me the visuals are crucial. We’ll be featuring huge projections of the deserts, mirages, etc. But I don’t want to direct people as for what they should think or feel, but it’s about all of these big themes: loss, joy, the sorrow of certain memories… For me, it’s vital to make music that reflects people’s lives. I don’t want to describe the waves of the ocean or the outer space, but the person that’s next to them.

What prompts to create a show based on those themes?

It all started with a collaboration with Uzbekistan’s Foundation for Art and Culture. They commissioned me a piece for the opening for a new exhibition of archaeological treasures of the Middle East in Berlin. From there, it grew into something bigger. There’s going to be two parts: the first one, will feature a trio consisting of a violinist and a cellist, apart from me – we are going to play together while poetry is recited. The second part will be done with the orchestra – we’ll be doing my symphonic suite, as well as the London premiere of The Sands of Time, which will include singers and a full plot exploring suffering and the hardships of people’s lives.

What’s your process from a germinal idea to the full finished work?

Usually, I sketch and improvise on the piano. You try to erase the border of consciousness and later work on it. There’s a lot of material that you have to go through and pick up its most powerful side. Then, you start crafting the variations and so on. If it’s an orchestra piece, that’s the first thing you immediately think of, while if you’re working with soloists, you can start by improvising together. The final stage happens under the same umbrella of the visual narrative – I just can’t even start without a story, and I need to find my ways to excite myself every time that I’m writing.

Have you found any particular challenges both as a creative or performer throughout this work?

Everything! Including finding the right video footage for this montage. However, I think it’s the fact of working as both a pianist and a composer. It demands a lot of time, but you have the time to be by your instrument and make it happen. You need quality, soul and energy.

If you had to give me one single reason to come see The Sands of Time, which one would it be?

If you’re expecting something grand, and if you don’t want just to see something, but to feel through all your senses, this is for you. And if you think of symphonic music as something dull, this will probably change your point of view.

All pictures credit to Elliott Franks.

The Sands of Time will play for one night only at the London Coliseum on 11 September. Tickets are available on the following link.

By Guillermo Nazara