2024-08-14 06:17:16
She has played a variety of music from jazz to pop, small formations to large ensembles. Clarinetist and composer Mona Matbou Riahi was born in Tehran and has lived in Vienna since 2007, where she is an integral part of the local music scene. She opens the Saalfelden Jazz Festival main stage on August 23rd with her project “Nebulift”, promising dreamy, psychedelic sounds.
Riahi is supported by bassist Manu Mayr, electronic musician Oliver Johnson (aka Dorian Concept) and visual artist Lou Zon. In terms of content, she wanted to use her work, which represents a mixture of creative and improvisational elements, to refer to a completely dreamlike state of floating. Mona Matbou Riahi spoke to APA about the importance of jazz festivals, the importance of collaborating with colleagues and the need to persevere in pursuing your own path.
APA: This year you will kick off the Saalfelden main stage with a commissioned work. What does this mean to you?
Mona Matbou Riahi: I feel a certain amount of attention from the outside world. I saw this as an opportunity and a chance to do something that I hadn’t done yet. First, of course, is responsibility. This place also means something to me. There are so many people in this room, so many eyes and ears and heartbeats. Of course I can extend existing projects. But I wanted to try something new. This journey is a very personal one.
APA: Can you tell us more about “Nebulift”?
Riahi: The Congressional Great Room is great, of course—but it’s still a conference room. I always wonder what you can do with space. In this case, I immediately knew I needed a visual layer. Musically, I’ve been thinking about this project for a long time. I wanted to do something with a touch of lucid dreaming, a bit psychedelic and psychedelic. Probably a little out of character for me compared to what I’ve done before. But just take advantage of the freedom you get in Saalfelden!
APA: How do you find collaborators?
Riahi: I’ve been a fan of Oliver’s music for a long time. His work is very funny, but at the same time profound. We met last year at Popfest in Vienna, where I was playing weather and such. We got along really well right away, including on a personal level! So I just wrote to him after asking. The connection with Manu is old; we have known each other for 15 years. His sound ideas surprised me every time, but I always felt at home. What matters to me is the flow of the sound. Not just looking for a brief connection of sounds, but always discovering new worlds together. It made sense to both of them. We don’t have to talk too much about it, it’s a very intuitive, very interesting approach. The way we approach sound ends up being very similar. This is a gift to me.
APA: What are your expectations for the visual component?
Riahi: Lou Zon was responsible for the simulated visual effects. In fact, she even cooperated. They are very abstract things that are not big but can become huge. Fantastic visions also play a role here. I gave her complete freedom. Of course we communicated and I sent her some things. But ultimately, it’s her business. I’m excited to see what happens.
APA: What was the rest of the process like leading up to the Saalfelden premiere?
Riahi: Until then we will meet again, then in Saalfelden. Four days before the show we really immerse ourselves in the scene. This is where the main work happens, at eye level. I want to create balance on stage. There is no front desk in this music, just our three voices. I want to regulate this differently than other situations.
APA: How do you feel overall about pursuing your artistic vision despite difficult conditions in the music industry?
Riahi: If you are in a privileged position, you must not forget what the road to get there looked like. There are different bubbles in the music industry, and some of them don’t work well together. At first I was just curious about what was going on there. I did a lot of things that made me realize that I am more than the country where I was born, more than the color of my skin. That’s irrelevant. It bothers me to be perceived a certain way just because of this. As I look back on my journey, I realize: In order to demonstrate my abilities, certain things were necessary. I don’t want to be pigeonholed. Of course, this is sometimes difficult as it also takes time and limits the creative process. My country and my gender actually have nothing to do with my music. Of course, there needs to be a platform for women or people of color. We have to let people see them. But I hope this will become a thing of course or get more attention. This is about sustainability, but you have to ask: What’s the reason you don’t see these people? People’s thinking must change.
APA: From a musical point of view, was Saalfelden also a good place for you to overcome obstacles?
Riashi: Of course. Just because you play one or the other doesn’t mean they are mutually exclusive. It’s just my freedom and my space. I hope many people can understand and live it this way. It’s a hard road and you must always stand up and defend yourself against discrimination. But of course there are opportunities, there are choices.
APA: What role does the audience play in this? Do you want a challenge?
Riahi: I believe in the audience, in the people who come to the concert hall. I admire her very much and don’t underestimate her. Challenges don’t have to be the main focus. You just have to be honest with yourself. We are on a journey together. I share something about myself and hope it’s understood. What if someone doesn’t like something? Honestly, I totally understand that. People should feel comfortable just like that.
(Interview conducted by Christoph Griessner/APA)
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