Fred Händl: The High Priest of Zappa’s Hidden Lore – A revealing journey through Frank Zappa’s world and his own compositions, with a post-concert interview.
Yes! I was one of the lucky ones to attend Saturday evening a truly unique musical event at Haags Piano Huis on Noordeinde, a cozy and intimate music hall with just 55 seats and a Steinway piano, though a little out of tune.
Fred Händl is back with an outstanding second edition of his project Händl Plays Zappa.
Händl offered a fresh set of solo piano renditions inspired by the music of Frank Zappa, a challenging but rewarding task that transforms Zappa’s complex and eclectic sound into a surprisingly intimate and melodic piano experience.
Händl guides us through his piano renditions of Frank Zappa’s fantastic and cryptic world. With delicate simplicity, he transforms a complex and turbulent musical language into a universal message that listeners everywhere can understand and love.
What stood out most was Händl’s ability to treat Zappa’s original pieces reshaped for solo piano with deep respect, while sharing his own compositions with heartfelt sincerity and the same artistic depth, revealing new shades and emotional nuance throughout the concert.
I spoke to him after the concert . . .
Your project Händl Plays Zappa is a unique solo piano journey into Frank Zappa’s music. How did you first connect with Zappa’s work, and what inspired you to reinterpret it solo on piano?
FH: My first conscious encounter was a video of a live performance. I must have been in my early twenties and I was absolutely blown away. I’d already collected hundreds of CDs, mostly jazz, heavy metal, and Prince. Then came Zappa. A friend warned me, “Once you get into Zappa, there’s no turning back.” He was right.
Your background includes classical training, punk bands, and various instruments. How have these experiences shaped your approach to Zappa’s complex music?
FH: That’s a good one. Looking back, I’ve always been drawn to things outside the norm. In a multiple-choice test, I’m the guy who picks “None of the above.” Not because I want to be different it just happens. So yes, discovering Zappa felt inevitable.
Tovarishchi emerged during the pandemic, but its themes feel even more timely today. Was it a personal reaction or a wider reflection?
FH: I actually started composing it a year before the pandemic. Originally, it was a tribute to friends comrades I’d met over the years. But when lock-down hit, the tone shifted. The music turned sad, lonely. So I reworked everything new titles, new concept but I kept the name Tovarishchi. It still fits.
Your concerts are said to be both playful and profound. How do you keep that balance alive on stage?
FH: I’ve always wanted to surprise people with music. I take the playing seriously, but I like adding something light between the pieces a story, a joke, a moment of honesty. It breaks the ice. I enjoy that contrast: emotional music, but a performer who’s approachable.
What would you like newcomers to Zappa’s music to experience through your piano interpretations?
FH: Zappa’s music is so varied it’s hard to label. I just hope they enjoy my playing. I’m not an apostle I’m a fan. Through these arrangements, I try to share the moments in his music that truly moved me.
If someone walks away feeling something curiosity, wonder, even just a smile then I’ve done my job. That’s the real magic of music: it creates connection, without needing to explain itself. Antonio D’Amato 28th June
Photo by Antonio D’Amato
