Indeed, classical music has never been anti-modern. From now on, thanks to the daring of the pioneers, it also opens up to the latest technology … Meet Mael Perrigault. Interview by Florence Petros
Mile Perigault: Thus, the Indésens Calliope record label is one of the first French producers to create nothing less than an NFT process on the occasion of the release of the young bassist Alexander Buldachev’s disc. Yes, a pure computer object, completely unique by construction.
And the audience is there.
Mile Perigaultthe initiator of the project, worked first in the pop world before joining the label Indesens Calliope Records, who out of curiosity offered to run a classic label in a more modern and dynamic way. Success was not long in coming and NFTs are a continuation of this dynamic.
How did you come to work in classical music?
evening: Unlike many of my peers, I do not have a classical education, strictly speaking. She first worked in the world of contemporary art, then created a small pop label and started working in the world of recorded music. But I’ve never differentiated between classical and pop music, I listen to both in the same way. So naturally, I moved from one realm to another, taking pop music icons with me.
NFT is a new medium that makes it possible to innovate new practices and respond to the expectations of fans, that is, to have a closer relationship with the artist.
How did you get started at Indessens Calliope?
evening: when i met Benoit du Howe For the first time, it had a large “back catalog” that was almost untapped in broadcasting, so getting that catalog online was a real challenge and above all to find ways to bring it to life! It gave me free rein, and like in pop music, I started creating compilations and playlists. After my experience at Believe, I knew that the only way to expand the classical audience was to listen to music from another angle than that of the name of the acts and artists alone. So we started working on thematic playlists, for example Piano Chill or Relax Cello. This allowed us to reach a wider audience. This practice is now widespread in all canopies.
What is the peculiarity of the classical music market today?
evening: Today the market is divided into 2. On the other hand, classical music aficionados who will know the works and artists well and who will read the specialized press, but this audience is very limited. On the other hand, there is a growing and somewhat growing audience that, thanks to social networks and live broadcasts, will discover classical music by freeing themselves from the “fees” that are ultimately the traditional codes of listening. For example, they will only listen to a part of a sonata or a symphony. It seems important to me that classical music labels can speak to these two audiences, by releasing singles or by connecting video and music more strongly, for example. Classical music has always been so stuck in traditions that it’s time to break out of it, to live … finally!
You recently launched an NFT campaign, how and why?
evening: We believe that the world of classical music should not be excluded from digital culture – it should also be one of the spearheads … NFT is a new medium that allows us to innovate new practices and meet the expectations of fans, that is, to have the closest relationship with the artist. With Speakerr company specializing in producing Musical NFTs We launched a test campaign on one of our artists: Alexander Boldachev. The goal is not to replace physical or digital sales, but rather to add content to the recording that can be accessed by the most engaged fans. For example, they can make use of a unique improvisation by the artist or be in a discussion group that allows them to ask questions.
What is your latest favorite music?
evening: I saw recently, at a festival, Marie-Laure Garnier translated by Lieder by Schubert With Dutilleux Quartet I was overwhelmed! On a more popular record, I follow with interest new releases from Andrea Laszlo de Simone, whose great album Immensità I loved.
Interview by Florence Petros
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