Julian Smiles is currently on a ship cruising up the west coast of WA. We briefly interrupted his sailing adventure to ask him about his upcoming performance in May with the AE, in particular his thoughts on the Kapustin Sonata No 2 (1989) that he is preparing to perform on May 24.

For those not familiar with this composer, can you tell us about Kapustin?

Nikolai Kapustin was a Russian composer and pianist who was born in 1937 and died in 2020. Initially classically trained, he developed in his late teens a taste for jazz, and became a successful jazz performer.

Can you provide us a little insight into what is in instore for audiences with this work? How did you come across this piece?

As with much of Kapustin’s music, it combines classical and jazz idioms. He didn’t see himself as a Jazz musician, in that while the music sounds improvised, it is fully written out. he said, “All my improvisations are written, of course, and they became much better; it improved them.”

I’ve always been drawn to Kapustin’s style. I enjoy listening to Jazz, and many years ago heard some of his 24 Preludes and Fugues. The combination of virtuoso jazz style with exquisite crafting impressed me greatly.

Last year a student of mine brought me this piece - he played it EXTREMELY well in his Graduation Recital at the Conservatorium, and I immediately wanted to find an opportunity to play it myself.

We hear both jazz and classical influences clearly incorporated into Kapustin’s Cello Sonata. Do you do anything in particular when preparing for a work that draws on different styles?

Not really - As a classically written work that sounds like Jazz, the main focus is to meet the technical challenges in both instruments in a way that sounds spontaneous and easy. If it is played well, it will sound great. There are of course some sections where we will accentuate the Jazz idiom, with a bit of “swing”, and the cello seems to imitate a jazz bass line in a few places.

What do you like about this work?

I like the challenge - it’s technically very demanding for both instruments, and locking the two together will be an enjoyable process when Konstantin and I get together to rehearse. 

For the listener I find it irrepressibly joyful and positive, with quite a few moments of slightly seductive smoky jazz bar throughout.

Do you have a favourite Jazz bar or spot in Sydney?

I’m afraid my history of Jazz bar attendance in Sydney goes back to hearing Galapagos Duck at the Basement. I also heard Don Burrows playing in a hotel at the Rocks. Not much since. If I can extend beyond Sydney, in 2016 my little family went to a jazz club called “Smalls” in New York. Smalls happens to be the second half of Dimity’s and my joint nickname…