BY STEPHANIE ESLAKE
Ernie Gruner plays the violin.
Ernie Gruner also likes playing whatever he likes on the violin. And he’s established an ensemble to do exactly that.
If it means playing a combination of classical, jazz, and folk music from the world’s cultures, so be it. Bowlines is the artist’s improvisation trio, which he founded in 2012 specifically to push the boundaries of string instruments. He’s not interested in the notes on the page – he’s interested in the notes that are, as yet, unheard.
Even in Bowlines’ album Not All Who Wonder Are Last, the music is improvised; transient. When it’s premiered in its official launch this 7 October, you’ll get to hear music that exists only in the moment you will share with the performers.
So what does all this mean for Ernie and his trio, which also features Hope Csutoros and Helen Mountfort? We find out in a chat with the founding violinist himself.
Ernie, you’ve described your album launch as “classical music meets world music and improvisations”. The music itself even contains spoken word. Tell us, what does genre mean to you and how can we hear these stylistic labels overlap in your new music?
I’ve studied many genres, some more than others, as have the other musicians in the trio. I believe it’s possible to blend styles to create something new, like some cooking can do. I am also aware that fusion can cause confusion if not handled well. With my two colleagues in Bowlines, we mutually improvise based on our backgrounds, and ability to listen and respond in the moment.
Outside of musical form, you’re also traversing artistic medium – members of dance and theatre companies will be joining you on stage. Why is it important to you to work with artists across the different disciplines?
I was inspired to form Bowlines partly inspired by my long term work with Melbourne Playback Theatre Company, also some other theatre and dance events. I like the idea of different art forms bouncing off each other.
What have you learnt about your new music by working with people in dance and theatre?
Some forms, ideas or structures in Bowlines come directly from those art forms. Some ideas transplant to music, and some do not. It’s an experiment; I worked for 10 years in science, so perhaps it has rubbed off a bit.
All of these ideas seem to align well with the reason you formed Bowlines in the first place, “to explore the possibilities for bowed string players to improvise music”. What’s the Bowlines journey been like so far?
I’ve loved the musicians finding ways to create together, based on individual strengths, to create something new.
How have your discoveries about improvised music led to this album?
The album is entirely improvised: a recording of a live concert, in the order of performance. We rehearsed to find ideas we liked, often just following a provocation – for example, one of us reading a bit, or seeing some artwork nearby, or one of us deciding to spontaneously start with playing, based on a feeling or brainwave.
When working across improvisation, how do you choose appropriate musical partners? That is, how do you establish a relationship not only built on trust, but on an equal musical understanding that can enable collaborative improvisation?
Similar musical backgrounds can be a good start. After that, it’s important that musicians are able to listen and respond with care. It’s also important to be able to accept offers from others and sometimes let go of your ideas. Let go of the ego for the group. Ironically, also be able to assert your ideas if you think it is time for a change.
Why have you chosen specifically to dedicate this venture to stringed instruments?
I’d like to inspire other string players. I believe often orchestral stringed instruments are trained to think that only classical music is an option. My training was classical, mentored by my Vienna Conservatorium-trained Polish grandmother violinist. When I became interested in folk, jazz, and world music, someone said: ‘You’ll never be able to improvise, you trained classically.’ Obviously, there are a lot of exceptions – but not enough, and not enough examples or role models. I’d like to hope that, in future, there would more opportunities for Western-classical string players to learn to improvise.
What’s the biggest lesson you’ve learnt about improvisation since founding Bowlines?
Perhaps a paraphrased reminder of what Indian musician Dya Singh said to me once – that there is no such thing as a mistake, only opportunities for new improvisations.
What advice would you give to others looking to improvise on stringed instruments, no matter what genres they’re working within?
Persist, find good teachers, play with other musicians and with recorded material and experiment, listen a lot to the genre you like, sometimes seek online or published materials.
Any parting words before your launch?
Expect inspiring new music based on resonances of classical, world, and jazz music.
Listen to Ernie Gruner perform as part of Bowlines for the album launch of Not All Who Wonder Are Last, 5pm October 7 in the Carlton Church of All Nations. Get a taste for some of the improvisational music by listening below, or visiting the Bowlines website.
Images supplied.
