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CLH: „Tiziana, what are your criteria of quality of Improvised Music?“
T.B.: „It´s a sculptural quality, a three-dimensional aspect; when the music has not only one or two dimensions -so that it is never, in neither way flat – but it is sort of architectural. You could say that this is more a compositional view, but I am very interested in perceiving the music with the qualities of the space: different layers, relationship between solids and voids, foreground and background, etc.
Therefore, when the improvisation is either just about blabbering around or it is very reduced and nothing is happening – which is in both ways kind of flat (in my opinion, of course) – it becomes a “style”, after a while it loses its risky aspect (which is very essential in improvisation) and it becomes predictable.“
CLH: „Does the communication or the ability to communicate of a musician make this music? Is it like the base for this music?“
T.B.: „The ability to communicate?
Well, when you play a concert there must be an opening toward the audience and somehow the intention to project the music so that you are not closed into yourself.“