The famous musical humour duo Igudesman & Joo speak to Phileleftheros on the occasion of their visit to Cyprus.
The virtuoso musicians Aleksey Igudesman (violin) and Hyung-ki Joo (piano) have conquered the world with their unique, hilarious performances that combine humour with classical music and pop culture.
They have worked with actors such as John Malkovich and Roger Moore, and a long list of classical music’s biggest names have featured in their musical sketches: Emanuel Ax, Joshua Bell, Janine Jansen, Gidon Kremer, Mischa Maisky, Viktoria Mullova, Julian Rachlin. The two met at the age of twelve, in the mid-’80s, at the Yehudi Menuhin School in England over a portion of fish & chips, and have remained friends and collaborators ever since.
In 2004, inspired by Victor Borge and the Two Ronnies, they created their proposal ‘A Little Nightmare Music’ which embraces creative chaos on stage. Since then, they have performed with top symphony orchestras and participated in some of the world’s biggest festivals.
As part of their tour ‘CODA- The Final Nightmare Music’, they are making a stop in Nicosia before their performance in May at the Athens Concert Hall.
What is your definition of success? Does success always meet happiness?
JOO: Understanding the essence of music is crucial. Through dedication and fortune, there are moments when you can convey that essence. Success often leads to a sense of contentment with oneself and one’s achievements. While happiness may be fleeting, satisfaction endures.
IGUDESMAN: Having the freedom to pursue your passions, whether it’s performing the repertoire you love, collaborating with preferred partners, or composing your own music. It’s about crafting a life filled with love and creativity. Genuine love for your craft breeds happiness and success naturally follows suit. If you love what you do, happiness will come naturally and with it success also.
How can chaos be creative in a performance?
IGUDESMAN: Some of the most memorable moments in our performances arise from unexpected mishaps and disorder. Whether it’s a small accident, a lapse in memory, an audience disturbance, or technical malfunctions, these deviations from the plan often lead to something remarkable. I find it fascinating because the creative process thrives on embracing chaos to build something new, better, and more intriguing.
JOO: Embracing spontaneity and remaining open to new ideas is crucial in this journey. Sometimes, the most brilliant ideas emerge not from careful planning but from spontaneity. Take, for instance, the incident where I accidentally bumped my head, resulting in uproarious laughter from the audience. Since then, I intentionally repeat the action for comedic effect, despite the inevitable headaches. It’s moments like these that add unexpected charm to our performances.
Is this ‘mess’ planned and rehearsed? If so, what kind of mess is it then?
JOO: The finest ideas often arise from spontaneity, and while we may plan and rehearse, the chaos of the moment can still catch us off guard, leading us down unexpected paths. This unpredictability is what we cherish in the creative process, as it injects a thrilling element of surprise that defies our expectations.
What is your worst nightmare on stage?
IGUDESMAN: While many musicians fear making mistakes on stage, for me, it adds an extra layer of enjoyment to the creative process. My greatest fear is that audience members leave our show feeling completely unaffected. Our goal is to evoke laughter or even tears, ensuring that our performance resonates deeply with our audience. If we achieve that, then we consider our mission a success.
How easy is it to maintain a sense of fun in what you do for a long time?
IGUDESMAN: Sometimes is not easy at all, haha. We are always trying to improvise and add something new to our performances. On stage, we often spontaneously insert extra lines or unexpected gestures that surprise both of us and elicit laughter. It’s crucial to maintain that spark within us, driving us to never give up and infuse our performances with vitality.
JOO: I believe it’s largely due to the vibrant and fun atmosphere that permeates our rehearsals, particularly during sound checks and concerts. Many new ideas and pieces are conceived during these sessions. We often let loose and embrace a spirit of freedom, leading to sparks of creativity. Our partnership is deeply rooted in a longstanding friendship where communication is one of the main keys!
Would you say there is a lack of humour in big music shows today? Is serious looking the norm in our time?
JOO: Absolutely, I believe it’s true. However, I also perceive that this perception is rapidly evolving, especially in today’s context. Reflecting on our early days at the Yehudi Menuhin School in England, we both sensed a prevailing seriousness within the classical music world. Attending a concert often felt sombre, resembling a funeral rather than a celebration of life. While acknowledging that much classical music is serious and tragic, we felt that the ceremonious atmosphere surrounding classical concerts need not be overly solemn and elitist. This is one of the main reasons why so many people, and especially so many young people, are afraid of going to classical concerts and we dreamed of changing this. Any parent or kid who might be terrified of this music will never be scared again after coming to one of our shows. And partly it was just to annoy our strict teachers, which we were masterful at.
Moreover, one doesn’t need an extensive knowledge of classical music to appreciate it. Our audience spans across generations, from children to grandparents, but also includes regular concert-goers as well as people who have never been to a concert hall in their lives. In our performances, we always strive to cater to multiple levels of understanding. While there may be jokes tailored for musical connoisseurs, there is something else happening at the same time for those who have never even heard of Mozart.
INFO: “CODA- The Final Nightmare Music”, April 11 Nicosia, Municipal Theatre, 8.30 pm – Sold Out Tickets
