7 Questions with Ilia Rayskin

Musical talent often runs in the family, but rarely does it culminate in a debut quite like this. New York-based drummer and composer Ilia Rayskin is emerging as one of the most compelling musicians of his generation. While he shares a last name with WSO Music Director Daniel Raiskin, Ilia has carved out a distinctive sonic identity of his own. On Thursday, March 26 at 7:00 pm, he joins the orchestra for a significant milestone: his first-ever professional collaboration with his father, performing a piece composed by his lifelong drumming idol, rockstar Stewart Copeland of The Police. We sat down with Ilia to discuss his roots, his style, and the “full-circle” nature of this performance.

How would you describe your musical style in one sentence?

A complex, eclectic, and carefully crafted approach, deeply rooted in a wide variety of polyrhythms and musical traditions, such as Black-American music, avant-garde and electronic music, heavily influenced by 19th and 20th century contemporary classical repertoire.

You’ve mentioned growing up with influences ranging from classical and jazz to rock. How has that range shaped your musicality and your approach to the drum kit?

My musical journey began during my childhood with two main milestones: records of The Police and Sting playing in our living room, as well as a wide range of classical music from Beethoven to Brahms and beyond. Those sound worlds have significantly shaped me as an artist, and I continue to be deeply touched every time I hear those specific recordings. It’s like they are part of my soul.  

As a teenager I began to play the drums, initially with a heavy focus on rock music. The raw energy and stamina which that art form requires has definitely stayed with me through the years, and most people who’ve worked with me will be able to tell you that my approach is highly energetic. Jazz only made its way onto my radar in my later teens and completely opened the doors for me in terms of improvisation, which I was dealing with anyway when I played along to rock records. Jazz and contemporary classical music guided me towards developing an intricate touch on the instrument and initiated my compositional practice. It completely opened my dynamic range and ability to create in the moment. 

Based on your experience with Tyrant’s Crush by Stewart Copeland, what can you tell us about the piece?

It has been so beautiful to spend time with this piece. Stewart Copeland has been my number one influence on the drums since day one and it’s been so interesting to work on a piece that deals with his incredibly unique style. What sets this work apart from other percussion pieces is that much of the material is not set in stone as well as the fact that it’s based on the playing approach of a specific performer. There is a clear framework for the drums, yet much of the written part is more of a guideline for what needs to be played — the entire work is very much crafted around Stewart’s language. It required me to get deeply into Stewart’s phrasing, so I’ve been re-listening to and playing along with recordings of The Police again for instance. I should note that I listen to The Police on a weekly basis anyway.  

One might think that it’s easier when the drum part is open to interpretation like that, but it is actually highly specific to Stewart’s drumming and it’s very apparent if the drums do not follow that contour. The music in Tyrant’s Crush reminds me of various influences. The first ones that came to mind were Frank Zappa and minimalists such as Steve Reich. 

Have you had the chance to speak with Stewart about the work? In terms of your own interpretation, what can the Winnipeg audience expect to hear — and feel — during the performance?

I haven’t been in touch with Stewart yet, but I’m hoping that this might still happen before the performance. My interpretation will be an homage and a showcase of my deep love and gratitude for the music that Stewart has brought into my life. My goal is to pay respect to his language while infusing it with some of my own phrasing. I’m not aiming to reinvent this piece, rather I like to see it as a personal “thank you”. 

This concert feels like a milestone: you’re performing a piece by one of your drumming idols and conducted by your father. How are you preparing mentally for a moment like this?

A touching milestone indeed. I’m just very grateful. I’m mostly focused on knowing the music really well, I think my nerves will be alright. 

Your debut with the WSO marks your first professional collaboration with your father, Daniel Raiskin. Does this milestone bring a sense of comfort and excitement, or a different kind of pressure?

I am very glad this is happening, I would not be the artist I am today without the encouraging and culturally rich environment which my father created for us growing up. I don’t think I’m feeling any particular pressure. I think there is mainly a shared mutual joy and excitement because Stewart’s music has been so meaningful for both of us.

Looking ahead, what’s next for you at this stage in your career? And do you see this debut as the beginning of an ongoing relationship with the WSO?

I’m wrapping up my master’s degree in contemporary composition and performance at The New School in NYC. I have various tours and projects coming up this year and I’m just hoping to keep creating a lot of art. I’m very much active as a composer as well, and currently working on my first orchestral pieces (amongst many other works). I would very much love to maintain an ongoing relationship with the WSO both as a performer and composer.

Book Tickets to See Ilia’s WSO Debut

Avi Bhatt (he/him) is the Communications Specialist for the WSO.