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Fusion Infusion

Steve Hackman returns with another masterful merge of classical and pop sensibilities


BY CHARLOTTE LILLEY

Steve Hackman’s musical interests have never been constrained by genre. A love of both classical and contemporary music, instilled from a young age, have led him to a diverse and prolific career as a composer, conductor, DJ, and songwriter, among a plethora of other roles. It’s also led him to develop his own niche within the world of orchestral music, writing fusions which combine classical masterworks with hits from some of the biggest pop stars. A fan favourite who has brought such productions as Brahms X Radiohead, Beethoven X Coldplay, Tchaikovsky X Drake, and more to Calgary, Hackman joined us for a conversation discussing the inspiration behind his work, his approach to engaging new audiences, and what he’s looking forward to when he brings the next of these fusions — Beethoven X Beyoncé — to the Calgary Phil on 3 October at the Jack Singer Concert Hall.

To start us off, could you share a little bit about the inspiration behind the classical and pop fusions that you’re known for?

Well, I think, first of all, if you’re a classical musician in the 21st century, advocacy and new audience engagement has to be something you take very seriously and something you’re actively involved in. To me, this work is a way to meet audiences where they are, because as someone who grew up loving classical and popular music equally, I’ve always known that there are so many potential new audience members for classical music out there, and they are the lovers of Beyoncé, and Radiohead, and Coldplay, and Tupac, and Kendrick Lamar, and the list goes on. They just perhaps haven’t been engaged with in the right way and perhaps haven’t known that they were welcome, and this is a way to welcome them. As somebody who grew up very agnostically when it came to music, there was no one imposing any judgment in my upbringing, saying, ‘listen to this, not that,’ and ‘this is better than that,’ and I’m lucky and grateful for that. So, I’ve always been looking for ways to bridge this divide between the two, because I don’t see them as being very different. I see Beethoven and Beyoncé as masters on equal footing in their respective genres.

On the composition side of things, what do you look for when deciding to bring a classical piece and a songwriter’s work together in a fusion?

Well, I think, first of all, it’s worth saying that just because you can combine two things doesn’t mean you should. And it’s safe to say in the beginning I was in search of the musical elements, primarily — the harmony, the rhythms, the motives, the melodies. As the technique developed, and I became more adept at writing these fusions, I was seeking more those thematic or emotional connections between the pieces. The more I wrote them, the more I could find ways to combine things, even when there perhaps weren’t apparent or overt musical similarities.

Was there a specific pair of composers or pieces of music that you first noticed could work together in this way?

Since I’m a pianist, and an arranger, and a composer, I’m always listening to music with that theoretical ear. It was in the case of Brahms X Radiohead that I noticed there were not only musical similarities that could be explored, but thematic and emotional similarities, and that’s why I think that piece, which is one of the first fusion attempts of mine, sort of broke open this this new potential genre.

For folks who might not already be familiar with your work, what can they expect from Beethoven X Beyoncé?

This is what would have happened if Beethoven and Beyoncé were playing at the same music festival, and they had the chance to collaborate. It’s the full Calgary Philharmonic Orchestra in all its glory, playing the Beethoven Seventh Symphony, one of the most beloved symphonies in all the repertoire, and then there are these constant interjections of moments where Beyoncé’s music is introduced and then layered in and fused with Beethoven’s music. There are six incredible soloists that join us, three vocalists, and then a three-piece band. So, the juxtaposition of the Orchestra with these incredible musicians is a really powerful and dynamic one. And then Beethoven’s music serving as an emotional context for some of Beyoncé’s most powerful songs is striking, and in my opinion, can be transcendent.

You’ve conducted the Calgary Phil before — what’s exciting to you about returning to Calgary for this concert?

I love the Orchestra and love the hall, they’re fantastic players. They’re open-minded to this concept, and they have been from the very beginning, which means so much to me. But they can turn the corner between playing the Beethoven like a world-class symphony orchestra, and then playing these fusion bits. And then the audience, I think, is what’s really crucial here. From the beginning, the audience seemed to have this curiosity and intrigue around this concept, and they have been so supportive of these programs, no matter what the pairing is, from Brahms X Radiohead, to Tchaikovsky X Drake, to now Beethoven X Beyoncé. So, I feel a connection now to the city as well.

Learn more about Beethoven X Beyoncé
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