Notes Between Silence with Marta Cascales Alimbau

Spanish pianist and composer Marta Cascales Alimbau crafts music that feels both intimate and expansive, blending classical tradition with contemporary lyricism. As the sister of artist Carla Cascales Alimbau - and the composer of the GAIA Collection soundtrack - her work resonates with a shared sensitivity to form, texture and quiet beauty. Guided by intuition, Marta invites listeners into a contemplative space where sound becomes a mirror for inner reflection. Here, she reflects on the moments that shaped her path, the themes that guide her artistry and the collaborations that continue to inspire her.

"Quote."

- Marta Cascales Alimbau

Can you tell us about your earliest musical memories and how they shaped your decision to pursue music?

I feel like music somehow chose me. Growing up, my dad would always play records around the house, so I was constantly surrounded by music - even though neither of my parents were musicians or played an instrument. A key moment came when my sister was gifted a little toy piano. She didn’t pay much attention to it, but it somehow ended up in my hands. I remember spending hours at it, exploring in a very intuitive and playful way. When I was 10, I already knew I wanted to become a musician.

Who have been some of your most important mentors or influences and what have you learned from them?

My main mentor has been the pianist and composer Mark Aanderud, who is from Mexico [but] now based in Barcelona. He was the first person who truly encouraged me to follow my own path and create the music I felt called to make. With him, I learned to listen to that inner voice that guides you, to trust the process and not to be afraid of sharing your truth with the world.

As for influences, the composers who have spoken to me and shaped my work include the classics - Debussy, Chopin, and Bach - as well as more contemporary voices such as Arvo Pärt, Ólafur Arnalds, and Hania Rani.

How do you approach the process of composition? What is your workflow from the initial idea to afinished piece?

For me, the process usually begins in a spontaneous, improvisational way. I sit at the piano and simply play, allowing ideas to surface. When something sparks, I hold onto it - sometimes recording it, sometimes writing it down - and from there I begin to shape it. That’s when a more reflective phase begins, where I listen deeply, analyze and think about what the piece needs: how it might evolve, what kind of emotional landscape it wants to inhabit.

Knowing when a piece is finished can be difficult, but there’s always a moment when it reveals itself - when the music takes the form it was meant to. I often like to imagine that the pieces already exist, and that my role is simply to uncover them, like finding something that has always been there, waiting.

In your compositions, what themes or emotions do you most often explore, and why are these meaningful to you?

I would say the energy of ‘love’ is somehow a force that is always there. My music also evokes contemplation, nostalgia, hope, peace and depth. For me, music is a way of holding space for emotions that words can’t quite capture. I think of it as a mirror: it reflects back to the listener what they are already carrying within, awakening whatever feelings need to be felt in that moment.

How do you balance the roles of performer and composer? Do these roles ever conflict, or do they support each other?

For me, composing and performing are deeply intertwined - they support and nourish each other. I think of myself as a composer who loves to perform, and in many ways, performing becomes part of the composition itself. On stage, sharing my music - the way I play, the way I inhabit it - feels like bringing the piece fully to life.

At the same time, I also love composing for other musicians and instruments, which offers a very different experience. There’s a unique fulfillment in seeing your music come to life through someone else, in the way another person interprets and embodies it.

"Quote."

- Marta Cascales Alimbau

Has your geographical or cultural background had an influence on your musical voice? If so, in whatways?

I suppose it’s so integrated that I don’t always even realize it. But now that I’m living in New York, I wonder how my music might have sounded if I had been born here - it would probably be very different. My classical music training has certainly left a strong imprint on my sound, shaping the way I approach melody, harmony and emotional expression. At the same time, I like to think that my music reflects a blend of my personal experiences, the places I’ve lived and the emotions I carry with me.

Can you describe one of your works, composition or performance, that was especially significant foryou - and why?

One very special work was the release of my rework of the piece Cortège by Lili Boulanger. I was approached by the renowned classical label Deutsche Grammophon, and they asked me to reinterpret a piece by Lili Boulanger. I reimagined the piece and brought it into my musical universe. It was very special because it meant having my work recognized by a label whose records I used to listen to as a child when I started playing piano - so it felt like a dream. The process of analyzing the original music and finding a way to express my own voice while preserving the essence of the piece was incredibly enriching. I also felt it was the perfect opportunity: to connect with the roots of classical music while having the freedom to create something new at the same time.

What does “performance” mean to you, beyond simply playing notes? What role do interpretation,audience and setting play?

Performance is a whole universe shared with the audience. I see it as a complete experience, and all the elements beyond the music itself definitely play a crucial role. I love to create a full experience, a bubble of beauty. It’s especially also about my own energy - when I feel connected, the audience will connect too.

Can you share a bit about collaborating with your sister, Carla, as artists? Is this your first time working ona project together?

Collaborating with my sister Carla has been a very natural and inspiring experience. We’ve worked together on previous projects, such as ABA Art Lab in Mallorca presenting Pálpito y Flama, where we created an art installation featuring wax sculptures that transformed throughout the exhibition, with the soundscape playing a key role in the overall experience.

Carla also frequently helps me with visuals and design for my own projects, while I contribute my musical skills to hers. Our collaboration flows very organically, as our artistic expressions are closely aligned and we often connect spontaneously in the creative process. Working together allows us to enhance each other’s work, and it feels like such a blessing.

What are your current projects or future aspirations?

At the moment, I’m preparing the release of two upcoming albums: one from my solo project, and another in collaboration with a singer. I’m also working with dancers, composing original music for choreography and preparing a special performance at the Guggenheim New York.

In addition, I’m exploring ways to bring my music into the wellbeing space, creating immersive experiences where people can lie down, close their eyes and simply listen to the sound of the piano - a concept I call Piano Bath.

Looking ahead, I aspire to compose a soundtrack for a film, and I hope to tour with my new album, sharing my music with audiences in different places and contexts.