Mabel Kwan is a Chicago-based pianist who is performing during UNBOUND: A Festival of American Chamber Music, presented by Ensemble Dal Niente. She will be performing Vox Balaenae by George Crumb and The Waters of Time by Kirsten Broberg during the first part of the festival -- "Colors" -- at Mayne Stage on April 21st. Recently I spoke with Kwan about her influences and ongoing projects. 

DG: How did you first get interested in the arts?

MK: I don't ever remember not being interested in the arts. I aspired to be a painter and writer when I was four.

DG: Who are some of your influences? 

MK: Everyone and no one. A part of every person I've met, heard, seen or read about stays with me, but I'm not able to name one big influence.

DG: What is an early memory you have of doing something in the arts?

MK: The first thing I ever had 'published' was this drawing I made when I was four of myself being an artist (a painter) when I grow up. Between grades three to six I wrote profusely.

DG: Were any of your early writings published?

MK: Yes, I had several poems and essays published in youth magazines.

DG: What are some interesting things that you like about playing the piano?

MK: I love the piano for all its colors. The changes you can get in tone through touch are subtle but have a profound impact on the music. The effect exists without being overtly perceptible.

DG: Did you figure out all of those subtle potentials with the piano when you were young?

MK: I was only able to discover this over many years of playing. The way I hear the instrument keeps changing.

DG: Do you also play other instruments? 

MK: I wish. At some point, I plan on taking a year away from the piano to learn to play harpsichord well.

DG: Do you also compose music?

MK: I'm not a composer myself, but I have a huge respect for people who are composers.

DG: What do you find so fascinating about composers and the work they do?

MK: This sounds silly to say aloud, but I think it must be the most honest kind of work a person can do. No one in their right mind would choose to be a composer unless they truly wanted to write music.

DG: Earlier this month you performed “Nothing Is Real” by Alvin Lucier. What do you like about Lucier's work?

MK: I love the way Lucier creates a complete piece with very little material. This is a delight as well as a challenge for the performer.

DG: What are you planning on performing during "Colors" -- the April 21st concert during UNBOUND: A Festival of American Chamber Music?

MK: That concert includes George Crumb's Voice of the Whale and Waters of Time, new chamber work by Kirsten Broberg. 

DG: What other projects are you preparing for? 

MK: The final concert of Dal Niente's UNBOUND series on May 14th includes a prepared piano piece by John Cage, so I've been reading a manual on piano prepared-ness. I have a piano solo by Gerhard Stabler that I would like to premiere, but it requires the pianist to tap dance, so I've been taking tap lessons. I am about to receive several new piano pieces that include electronics, and I'd like to do something with this small stack of music I have for two pianos tuned a quarter tone apart.  

     Mabel Kwan performs during "Colors," which is the first part of the UNBOUND Festival on Thursday, April 21st. The other parts of the UNBOUND Festival include "Reich" (on April 30th), "Time" (on May 10th), and "Voodoo" (on May 14th). The UNBOUND Festival happens at Mayne Stage (1328 W. Morse Ave. in Chicago).