"Children can understand much more than adults"

Rodolphe Schacher, you have already composed a number of works for children - what is different from "adult" works?

You can do anything! That's why I think it's so nice to compose for children. They can understand and accept much more than adults, they have no expectations of the music. If something sounds modern, it's simply different for them, but I've never experienced any negative reactions. The conflict between contemporary and tonal music is simply not an issue for them. So everything can take place in the same piece.

What was your favourite music as a child?

Mozart's "Little Night Music", that was the perfect music for me. I also mainly listened to classical and baroque works. There were far fewer performances and pieces for children back then than there are today.

Now you have created a new series of works yourself with the music for "Kunterwunderbunt". How did the project come about?

It all started with the text by Nelly Danker, who also directed the play. In it, the girl Yvi discovers the world of colours - a simple idea, but one that is told in four really beautiful stories. You can imagine something at every moment, and my aim was to translate these ideas into music. In total, there are over forty pieces in the four parts, some of which are linked by leitmotifs; the music should be logical. But you don't necessarily have to realise that. Just as the stories of the individual parts can stand on their own, it doesn't matter if you miss a part of the music.

What were your guidelines for the casting?

The only thing that was clear was that the first three parts – which are to be performed in community centres across the city of Zurich – should feature a chamber music ensemble. That was new to me; my previous pieces for children were mostly written for orchestra. I then discussed the specific instrumentation with Yvonne Gisler from the music education programme. We settled on quite different ensembles: in the first part, there’s a flute, bassoon and harp; in the second, a brass quintet; and in the third, a violin, a cello, a clarinet and either a marimba or a vibraphone. When it comes to colour, you need a wide range of timbres.

Which colour did you start with when composing?

With grey! I actually started with the first track of the first story. Yvi is bored in this scene, and the music is meant to sound correspondingly dull. That was a fun challenge, because normally you want to compose exciting music. And it was a good place to start.

And how does it end? The finale of the series takes place at the Kleine Tonhalle with a larger ensemble.

Composing for a concert cycle – or, in this case, for several stories – inspires the desire to create a finale that brings together the emotions and energies of the moments experienced previously. I found that idea absolutely wonderful. Bringing together all the timbres and instruments encountered throughout the year’s concerts has made for a conclusion that I’ve tried to make as colourful, festive and poetic as possible.

More information on ‘Kunterwunderbunt’