Every once in a while, you hear an artist that is not only talented, but also unique. One of those artists that have gotten me this year is Canadian violinist, Judy Kang. As a performer, she has collaborated with a wide variety of artists and has let her classical performing intertwine with modern pop music. By mixing the two, she brings fresh air to both styles. For a full review of her music, be sure to check out the review I did for her debut album on IATU. After the review, she took some time to do this email interview. We ran into several connection problems along the way, but I’m very happy with the end results, especially towards the end. Read on and find her on Spotify. If you like the interview, be sure to share it. Not only will the work Judy and I put into this be spread, but also you’ll get to sound like a total music hipster to your friends if you share the interview.

“What are you listening to?”
“Oh, a Canadian violinist that worked with Lady Gaga, Pierre Boulez, and that one guy with a long name. You probably haven’t heard of her.”

On that note.

Sean Huncherick (IATU): Let’s go ahead and get started. Can you tell our readers a little about yourself?

Judy Kang: I was born and raised in Canada and grew up in Edmonton, Alberta. I’m an only child to a single mom and started playing violin at age 4.

Sean: Why the violin?

Judy: The story goes that when my mother was at the hospital [to give birth], her mother (my grandmother) had a dream while taking a nap there. She had a vision of a baby girl holding a violin and she told my mother about the dream.

As a toddler, I would also pay special attention to classical music when it was played on the radio, dancing to it or stopping whatever I was doing to listen. I had my first lesson on the violin at age four and was able to learn a piece right then and there. My teacher recognized a talent and said that I have an exceptional gift.

Sean: Very interesting. Was your family very musical?

Judy: No. My mother wanted to play the violin though.

Sean: What are some of your favorite classical pieces to perform?

Judy: I love Brahms. His concerto, sonatas and short pieces are great. Beethoven might be my all-time favorite composer. Especially his 10 sonatas and concerto. I love Paganini, Kreisler, Sibelius, Shostakovich, Janacek, and Ravel. Bach is pretty nice too.

Sean: Terrific! What about from 20th/21st century composers?

Judy: There is a Canadian composer that I really like named Andre Prevost. I also enjoy Alan Belkin, another Canadian. Others include Penderecki, Phillip Glass, Lutoslawski, Kurt Weill, Boulez, Satie, Arvo Part, John Adams, Ryuichi Sakamoto, Lutoslawski, Bernstein, György Kurtág, George Crumb, Takemitsu, Marjan Mozetich, etc.

Sean: John Adams is brilliant. Very good choices!

(Connection problems! Slow internet! Wi-fi attacks! Due to connection problems, the rest of the interview was done all at once by sending Judy a list of questions.)

Sean: One thing that’s nice about your music is that it carries an indie-pop feel as well as classical. Who are some of your pop influences?

Judy: Thank you. I love indie pop, classical and yes, Top 40s as well. I think the influence of pop culture in general began early on. It’s an ear worm, basically. Pop songs get into your head, whether they’re good or bad. Without a doubt, it has a certain vibe about it that is current in feel and I enjoy the type of emotion it can evoke. On the flip side, a pop song can take me back to a certain moment in time, memory or experience. To me, that’s the beauty of it really. I really love 80s and 90s pop mostly. Britney, for sure. Lady Gaga had me at “Pokerface.” *laughs*

Sean: You released your self-titled album earlier this year. What are your plans to promote it? Any solo tours or shows?

Judy: I plan on doing some cool things with it. Doing shows would be awesome, so I am working on that. It’s been fun when different people that have heard some of the songs contact me randomly with ideas they have for using a song for a film or doing something with them that brings a different light on a specific song. It’s exciting stuff, definitely!

Sean: What’s it like working with Lady Gaga compared to someone like Pierre Boulez?

Judy: I get asked what it’s like working with Lady Gaga vs. *insert any other artist I worked with* a lot. *laughs* Each time that it’s asked, I find certain similarities and differences. The obvious differences I don’t think need be said. As a spontaneous artist, I found a similarity of the two artists you mentioned is that they responded positively to freedom of interpretation and bringing a personal sound. With Gaga, jamming live on stage on some of her acoustic songs allowed for improvisation and to take “solos” as we communicated through each other’s body language. I especially appreciated the experience with her in that respect. I didn’t have a notated or composed part, so a lot of the initial prep was adding lines that I thought would work well in each song and then improvise between songs during interludes and such. I pretty much got to be as creative with it musically, within the context of enhancing the songs, as I could ask for. The violin, in essence, brought in a different element to the show and the songs, which was pretty cool.

With Boulez, there was dialogue on understanding the concept of the work he wrote. The elemental foundations were communicated, and through the process, I felt a sense of respect and trust on his side. He gave me a lot of freedom to study, search and explore the piece and bring my own instinctive, understanding, approach, voice or whatever you want to call it, to the piece.

Sean: Your new album has two songs with vocals, but is otherwise instrumental. Had you planned on singing on the album?

Judy: I wanted to bring vocals in because it was another element of myself that I felt needed to be expressed. It’s an outlet I discovered that got me out of my comfort zone. I also felt that some music just felt more “complete” with vocals. It’s partly the influence of having listened to pop and vocal music most of my life.

Sean: Is it likely the vocals will play a larger role in your future music? You have a lovely voice.

Judy: Well, thank you. That is indeed very nice. *laughs* I do not consider myself a singer or vocalist by any means, but it’s another instrument that I want to utilize. I tend to vocalize melodies these days a lot more than play them and I keep hearing vocals for songs I would like to compose. Maybe when that stops happening, I’ll retire it. We’ll see. I know I definitely want to take vocal lessons.

Sean: What are some of your future plans for your solo career?

Judy: As I write, the influences are inevitably varied from pop, classical, electronic, indie, rock, jazz and so on. I didn’t record my self-titled album as a departure from classical music. Instead, it’s an exploration and expression of my complete self at this point in time. To me, it is important to take my artistic life to new levels by exploring all of it. My passion for composition, production, visual and performance aspects each enhance and challenge the other. I am continuing to write, record and reach new heights with that. Every experience I’ve had, musical or not, plays a role towards where art is taking me and my vision of the future of my music. I’m open in that sense for allowing the impossible, for the very things most would normally see as unrealistic. I want to create concerts for audiences that are personal, honest and provocative. To put it simply, I want to create a musical experience that will bring all the elements together organically.

Because of my experiences working in various environments with diverse artists, I’ve discovered a newfound appreciation and love for the repertoire that I grew up learning and performing. I’ve found more respect for composers, living and deceased, and have a deeper interest in their stories and the influence of the music they wrote as inspired by love, their struggles and experiences. It’s the raw things of life in general that we all can relate to. I would like to continue playing concertos and recital repertoires, but also explore more works for violin that are yet to be discovered by living composers. I also plan on recording more classical pieces.

Sean: I’ve noticed some Christ-centered comments and posts on your social network pages. How do you see the mixture of faith and music?

Judy: I love God and talking about Him. To put it simply, as you stated, my life is Christ-centered. Therefore, my music is Christ-centered. I am definitely a work in progress, but my heart is set to do it all for God. It’s interesting how you asked about the mixture of faith and music. The two in this particular case, are basically in contradiction with each other. As an artist, it’s all about self-expression: it’s about “me.” Living a Christ-centered life is about Christ. That’s not easy for anyone to digest, let alone an artist. Without complicating things, I believe it comes down to whether one’s desire is to bring glory and fame to self or to God out of love for Him. I’m in the process of truly seeking, learning, defining and realizing the fullest potential and purpose of my role as a musician and as an individual. Without a doubt, I believe He’s provided us with skills and gifts, but it’s in how and why the gift is utilized. My faith is utilized in the power of music and how His power is exercised through my heart for Him. Contrary to popular belief, it’s not based on how I perform or how skilled I am, it’s that I give it my best.

When exercising faith in God, it allows for spontaneity in performance, thus not having to be in total control or expectation of my own merit. I even find it lightens the load of practice prep and anxiety of meeting “my own expectations.” With faith He often exceeds mine. I’ve experienced getting into a zone and feeling completely “inspired,” which I am sure many artists relate to. Music is one way I communicate with God. Though I’ve performed for many years, I often find that I wasn’t born to love the limelight. Nervous by nature, I was able to work under pressure – even through lack in prep or practice. My faith was tested in those moments, for sure and I definitely credit Him for getting me through. Ultimately, faith has helped take the pressure off, making my performance experience that much more enjoyable and enriching. I’m trusting God for the “magic” to touch souls. It’s definitely a challenge as there is friction between the ego’s (self) desire for glory and the spirit, but with each day, I’m reminded of His love and truth, as well as my purpose. With that, I can say it is easier.

Sean: Thanks for sharing that. It’s incredible how music can express aspects of God that words cannot, even when it’s a battle of self-expression and Divine praise.

Last of all, do you have anything else you would like to say to readers?

Judy: I’m thankful to be doing what I do and sharing it with all of you! I hope to continue on this journey of life learning and growing as both an artist and a person. There is so much to be done and discovered (for all of us!) and it’s a cool privilege to be doing my little part as a piece of a large puzzle. Thanks so much for all your support and love.

Sean: Thanks so much for taking the time to do this interview and for rolling with the technical difficulties! Cheers.