Lotte Pen: The Search for Inspiration

Inspiration can be found around every corner. It’s something everyone needs to view life from new perspectives or to be triggered into doing things completely differently. For artists, inspiration is the fuel behind the creative process. This month, we interviewed saxophonist and composer Lotte Pen about her sources of inspiration. Where does she find it? We set out to discover her story.

MONASTERIES

“Lotte, I’m really curious to hear what you’ve brought for us. What sparks inspiration in you or sets your thoughts in motion?”

“Nature,” she jokes. “No, actually I’ve brought something quite different. I find everything about monasteries absolutely fascinating.”

“Didn’t see that one coming,” I reply. “What is it that makes monasteries so interesting to you?”

“First of all, they’re just really nice places to be. And beyond that, I feel connected to the monastic tradition.”

“Monastic tradition? Tell me more.”

“As I said, they’re just really peaceful places to simply be for a moment in your life. Back when we still lived in Deventer, I’d sometimes visit the nearby monastery in Diepenveen. Even just driving up to it, you see this beautiful row of trees with the monastery in the background. Somehow, a kind of serene calm immediately washes over you.”

“I can sort of picture it when you describe it like that. But you’re saying that just arriving there already brings on this serene feeling. What is it about monasteries that evokes this feeling in you?”

“What I find beautiful about the monastic tradition, or the mindset of nuns and monks, is that they’ve followed the same kind of rhythm for thousands of years. A monastery might be the tangible example, but I love seeing how people around the world embrace the same routine and relive the year with the same moments each time. That includes Christian celebrations like Christmas and Easter, but also the smaller things — fixed prayer times, set moments to eat, to work, to study, to read from the Bible. Then there’s the ongoing search for God, for goodness and the beauty of life — that really speaks to me.”

“It was a revelation to realize there are still people in this fast-paced, demanding world who care deeply about the fate of others”

“I wonder — is it more the routine that appeals to you, or the faith (or perhaps the combination of both)?”

“The beauty of that routine, I think, is also seeing that there are still people in this world who aren’t solely focused on their own gain, but are actually concerned with the people around them. A good example: during the pandemic, when I was staying at the monastery in Diepenveen, they would pray for everyone to make it through the pandemic safely. But what I didn’t expect was that they even prayed for specific groups of people; even for sex workers. Isn’t that incredible?” she says. “In my own life, that’s not something I’d quickly think about, and I imagine many others wouldn’t either.

It was a revelation to realize there are still people in this fast-paced, demanding world who care deeply about the fate of others, about society, about those in need. People who dedicate their whole lives, their whole mindset, to the pursuit of goodness. That’s something we’ve largely lost in modern society. And that’s why I think it’s so beautiful to still find that in these kinds of places.”

She paints a vivid picture of what such a retreat must have looked like, and honestly… it sounds like something we should all experience at least once in our lives. I ask her more about her musical walking project Pelgrim, which we touched on last time. “When I think back to how you described that walk, it sounds a lot like a kind of retreat. A spin-off of those experiences, maybe?”

“No, it’s not that. I get where you’re going. You’re trying to connect that experience directly to my music, but for me, it doesn’t work one-to-one. I don’t directly translate experiences into music or anything like that.”

“But still, it kind of exists in the same realm,” I suggest.

“Yes, I get your point. If you take it literally, there are definitely influences from early music, which often originated in monasteries. The Pelgrim album is largely based on the music of Hildegard von Bingen — a nun who was especially active in the 12th century as the first female head of an abbey, but also a scientist and composer. With this album, I took her melodies and gave them my own interpretation. Another example: I absolutely love the writings of contemporary monk Anselm Grün. I dedicated the piece Embracing Space (also on this album) to a chapter from one of his books.”

We wrap up her first source of inspiration with the notion that experiences like this truly enrich your life, offer a new perspective on the world and society, and that if everyone looked out for one another just a little more, the world would be a much better place.

CARNATIC MUSIC

“Let’s move on to your second source of inspiration,” I say. “You mentioned something musical?”

“Yes, that’s right. I also have a deep fascination with Indian classical music — particularly Carnatic music from southern India.”

“Interesting. What exactly fascinates you about it?”

“At the conservatory, I decided to take a minor in this musical style, and I was immediately hooked. We learned all about the classical ragas, which stand in complete contrast to the Western music system. 

But what I found especially intriguing was the unique rhythm — something that comes back in my own music often, and may also remind you of minimal music. It may also be fun to mention that there’s a link here with that whole monastery and monk story — just like Indian rhythms, they keep going endlessly. There’s a whole philosophy behind it too.

A side note — around the same time, I also did a Vipassana course where you learn through meditation to become consciously aware of moments. That when you’re in something, it will also pass. That in good moments, you should really enjoy the small things, and that with negative thoughts you can remind yourself: ‘this too shall pass.’ That’s also something very Biblical: ‘there’s a time for everything.’ And that’s what I find so amazing about Carnatic music. At first, all these things happen rhythmically. It just keeps going. Sometimes quite complex — like 5 against 4, then 7 against 5. But eventually, everything comes back together.”

“Meditative,” I say.

“I agree, you listen to completely different things than in a pop song, for instance. There’s no verse, chorus, or bridge — it just continues. That’s what I personally love about it. If you listen to my piece Ephemerality, you’ll hear that in it too. A piece without a clear beginning or end. At the same time, a lot happens in terms of sound, with many rhythmic structures. And eventually, everything comes back together again. It’s kind of a trance, really.”

We move on to Lotte’s final point of inspiration. She says, “This one’s a bit tricky, because in the end everything can be inspiring, and as a musician I’m mostly concerned with sound. Maybe a bit boring for an interview,” she laughs. “But okay, what inspires you? You could think of beautiful chords or sequences. Or a lyric that really fits what I want to express. Or when different genres come together and strengthen each other. That inspires me. But it’s not necessarily an object or something tangible that I draw inspiration from.”

THE ELEMENT OF SURPRISE

“Can I say then that you’re inspired by the element of surprise?” I ask.

“Well,” she continues, “maybe I just find it interesting when you combine things that wouldn’t normally go together. For example, do you know the album Junun by Jonny Greenwood (of Radiohead) made with Shye Ben Tzur and The Rajasthan Express? That’s such a record where different worlds come together and it works incredibly well. In a similar vein, and closer to home, I’m working on my next tour with countertenor Sytse Buwalda. I’m sure people won’t expect a countertenor with his high voice to be performing with me, and it’s going to blow the audience away because they wouldn’t associate it with me. And he also just sounds absolutely incredible.”

I admit that I wouldn’t have expected that from Jonny Greenwood either, and promise to check out the album soon. Lotte adds:

“And look, a classically trained saxophonist who works with electronics and improvises — that’s not exactly obvious either. But I love that! If I had to summarize it, I’d say I’m drawn to people who think and act outside the box. Funny side note — now that I think about my curated playlist… it’s mostly music by men singing in falsetto.”

As we wrap up the conversation, we reflect together on everything we’ve discussed. About monasteries and rhythms, prayer and trance, the search for silence and for sound. Lotte’s sources of inspiration may not be ordinary, but that makes them all the more stimulating. What they have in common? A deeper layer. Whether it’s an Indian raga, ancient Gregorian chant, or an unexpected collaboration with a countertenor — for her, it’s all about finding connection and meaning.

Thank you, Lotte, for sharing your story. After this interview, I’m already looking forward to her new tour The Alt. Mass, where all these sources of inspiration are sure to come together. Until next time!

Live – The Alt. Mass Tour