Tell me, Mr Kümpel, what’s sailing like?
Out into the open sea! Many of the atmospheres I describe in *Aer Maris* are seen from the solid shore, but when I’m sailing I’m even further out and often lose sight of the land altogether. It’s the play of colours, the light, but also sounds like the whistling of the ropes – it’s almost like a melody you hear whilst sailing.
Is “Aer Maris” a true sailing symphony?
Strictly speaking, it isn’t a symphony, because a symphony would involve all the instruments in the orchestra. In the case of “Aer Maris”, however, only the string instruments are featured; in that sense, it is technically correct to call it a suite – in this instance, comprising eight movements.
Did you deliberately limit your composition to the strings?
For one thing, I’m a trained string player myself – I studied the double bass and was part of an orchestra for ten years. And for another, I wanted to keep it that way. For me, the sound of the strings is the best way to capture the atmosphere of those days by the sea.
Many sailors have music playing in their heads whilst out on the water – for example, a song they’ve just heard in the car. Have you ever found yourself composing a tune in your head whilst out on the water?
Yes, absolutely, I have those kinds of mantras too! But with the music I compose, it’s more a case of coming home after a day on the water and reflecting on what it was that really inspired me that day. It might even have been a windless day, when I’d driven down to the water for nothing – it might have been hailing, or foggy, or whatever. And that was what inspired me – nature itself rather than the actual activity on the water. The music tends to describe the moods. Musically, not much happens, but that’s what makes sailing and surfing so special: the fact that we’re always at the mercy of nature. We have to make the most of whatever nature has to offer on any given day.
And that is what you have captured in the seven sections.
Exactly. There are seven sections, like the seven days of the week. Each one has a different atmosphere – one is a misty morning, another a stormy day. And then there’s a sort of ‘dream day’ at the end – the kind of day you’d like to have. But the whole thing isn’t specific; you can’t pinpoint exactly what the fog sounds like, for example. Everyone has to imagine that for themselves.
How did you go about putting your idea into practice?
After a day on the water, I sat down at the grand piano at home that evening and improvised. That was the underlying mood, and I then adapted it for string instruments. At some point, the idea struck me that I myself am a person within this world, so I added a solo violin, which plays its part within this natural setting in every piece. It’s all very, very abstract, but that’s how it developed.
You’re mainly windsurfers and wingfoilers, but you’re also sailors. What’s your sailing background?
I often go out on a hire catamaran on Lake Cospuden near Leipzig; it’s simply too small for larger sailing boats. Every now and then I also head out onto the Baltic Sea, but only as a crew member, not as skipper. I’ve always fancied doing that, but I’ve already got so many hobbies: music, surfing, catamaran sailing. If I were to get my own yacht on top of that – with all the maintenance, club life and everything that goes with it – that would end up cutting into my music again; I just can’t do that.
You compose film music as your main job. Do your impressions of water also find their way into your work?
Absolutely! Many people think the music is written for a finished film, but very often it’s the other way round. The director tells you the broad outline of the story, and you then compose the film music before the film is made. In that sense, this ability to visualise moods or the sound of water is something that comes naturally to a film composer. Otherwise, I’d actually have had to take my grand piano onto a yacht or set it up on the beach to set the surroundings to music, so to speak. But I don’t have to do that. It all takes place in my head.
“Aer Maris” was recorded by the Elbland Philharmonic Orchestra. What were the musicians’ reactions?
They were absolutely thrilled by the idea. I’d initially suggested that we all go surfing together to get a feel for this music. Unfortunately, that hasn’t happened yet, but lots of them were interested because they wanted to experience for themselves the feeling they’d expressed through their instruments. They’re usually always worried about their fingers and that the calluses they need for playing might soften.
How and where can you listen to “Aer Maris”?
We’ve recorded it; you can find it on my YouTube channel ‘Only Philipp’ listen. But the hope is that there will still be performances with this or another orchestra; negotiations are currently still underway. I’d love nothing more than to perform at the Elbphilharmonie in Hamburg – with nothing but sailors and surfers in the audience. And then I’d be curious to see whether people recognise their own feelings!
About Philipp Kümpel
Born in Lübeck, the water sports enthusiast moved to Leipzig to study. There, he composes music for programmes such as “Soko Leipzig” and “Terra X”, as well as various television films.
