Artistic Universe
The cage
Classical training is a magnificent cage. You learn precision, depth, listening. You meet Prokofiev, Beethoven, the great architectures of sound.
But the cage remains a cage.
Improvisation begins where the score ends. It's an act of gentle disobedience — not against music, but against habit. Against cultural and academic conditioning, the learned ways of thinking about sound.
Connection
The key word is connection.
Connect with the film to connect with the audience. Connect with the moment to escape what you already know. The process is three gestures:
Sit down. Forget. Open up.
When subjectivity freezes, it becomes a prison. Improvisation is the opposite: a subjectivity in motion, porous, attentive.
Beyond the notes
The piano is not just an instrument for notes. It's a sound source.
Extended techniques — playing on the strings, preparing the piano, exploring resonances, percussions, harmonics — respond to an urgency: to go beyond the conventional use of the instrument.
Influences range from Prokofiev to John Cage's philosophical universe. Not a style, but an opening.
No fixed identity
Deborah Silberer has no fixed musical identity. And that is precisely the identity.
Neither entirely classical, nor entirely experimental. Neither accompanist, nor soloist in the usual sense. Somewhere between cinema, theatre, chamber music, and noise.
A body of work that refuses labels — not as a posture, but out of necessity.
What interests me is not what I know how to play. It's what I don't know yet.