“Quand j’écoutais Messiaen avec Thom”
[button style=”green” fullwidth=”true”]Jonny fait de la guitare[/button]
C’est une bonne nouvelle: dimanche prochain Jonny Greenwood se produira dans une vieille centrale électrique avec 7 musiciens…ils joueront des extraits de “There will be blood”, du Bach et du Purcell, et, ensemble, un nouveau morceau écrit pour cordes et guitare électrique.
Jonny s’explique avec Lucy Jones dans le NME sur la place de la guitare dans la musique contemporaine, sur l’intérêt de mettre en phase la musique classique avec celle qu’on crée aujourd’hui, sur le regain d’intérêt pour la musique classique, de plus en plus jouée, en Angleterre, dans des salles qui accueillent par ailleurs d’autres styles, comme le Roundhouse, ou d’autres événements, comme le Wapping Power Station où il va se produire le 23 février.
Interrogé sur son amour pour Turangalila de Messiaen, il se souvient: ” I remember sitting with Thom and a recording of this 15 years ago, looking for samples, and realising that that’s what Messiaen had already done, i.e writing all the good bits and put them in a row – and 70 minute sample of a record is just…a record”
[button style=”green” fullwidth=”true”]Colin toujours nostalgique[/button]
C’est inquiétant comme Colin est fréquemment associé à des événements célébrant le bon vieux temps (fait-il figure de relique?): le voilà maintenant avec Nigel décernant des prix, celui-ci à Trevor Horn, producteur admiré, celui-là au Rak Studios où Radiohead enregistra jadis “The Bends”.
Déclaration pré-enregistrée du gentil Colin: “It was fantastic, the people there were great, this place is amazing” (sic)
http://www.bbc.co.uk/news/entertainment-arts-26184087
[button style=”green” fullwidth=”true”]Une expérience décadente[/button]
Des Esseintes, le héros de Huysmans dans A Rebours, préparait des dîners monochromes et funèbres, vous pouvez aujourd’hui vous offrir une expérience un brin décadente en allant manger chez ce restaurateur de Detroit qui a préparé un menu de 10 plats inspirés par les 10 pistes de Kid A….que vous mangerez en écoutant le disque…et en payant 125 $, ce qui est plus cher qu’un plat de nouilles (qui vont pourtant très bien aussi avec “Idioteque”). Merci à Miss Peel pour la traduction française (que je vais sauter pour éviter d’utiliser ce qui est au journalisme ce que la saccharine est au sucre, une miteuse imitation!)
http://eater.com/archives/2014/02/13/detroit-restaurant-plans-radioheadthemed-popup.php
I remember sitting with Thom and a recording of this about 15 years ago, looking for samples – then realising that that’s what Messiaen had already done, i.e. written all the good bits and put them in a row – and a 70 minute sample of a record is just…a record.
NME: The score for one section of ’48 Responses to Polymorphia’ is a picture of a purple oak leaf — the players all begin on a single note, then slide off according to the patterns of the veins on the leaf. Is that right? Why did you use that technique?
JG: It’s an affectionate nod to Penderecki who collects trees like Messiaen collected bird-song. I tried it with trees first, but it was easier with a leaf.
NME: You’ve used aleatoric techniques. What interests you about leaving things to the “imp of chance”, as Feldman described it?
JG: It focuses all the attention on the live performance – which is unrepeatable – and away from the recording, which is.
NME: Can you remember the first moment you heard Penderecki? I’ve heard it was quite a significant moment for you…
JG: The first recording when I was 18 – but the live concerts are much stranger and better than the recordings let on.
You can get tickets for Jonny Greenwood and LCO soloists in Concert here
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I remember sitting with Thom and a recording of this about 15 years ago, looking for samples – then realising that that’s what Messiaen had already done, i.e. written all the good bits and put them in a row – and a 70 minute sample of a record is just…a record.
NME: The score for one section of ’48 Responses to Polymorphia’ is a picture of a purple oak leaf — the players all begin on a single note, then slide off according to the patterns of the veins on the leaf. Is that right? Why did you use that technique?
JG: It’s an affectionate nod to Penderecki who collects trees like Messiaen collected bird-song. I tried it with trees first, but it was easier with a leaf.
NME: You’ve used aleatoric techniques. What interests you about leaving things to the “imp of chance”, as Feldman described it?
JG: It focuses all the attention on the live performance – which is unrepeatable – and away from the recording, which is.
NME: Can you remember the first moment you heard Penderecki? I’ve heard it was quite a significant moment for you…
JG: The first recording when I was 18 – but the live concerts are much stranger and better than the recordings let on.
You can get tickets for Jonny Greenwood and LCO soloists in Concert here
- What are the best sub-two minute songs?
- What are the least sexy songs ever?
- Musicians and critics select their ultimate cult heroes
- Lady Gaga – 10 best songs
- Rihanna – 10 best songs
- The Strokes – rank the albums
- The 20 worst pop songs in history
- Radiohead’s albums, worst to best
- Walk onstage with Courteeners
- Thom Yorke’s ten finest non-Radiohead tracks
- The UK’s top 50 million-selling singles
- Song stories – The Smiths, ‘Heaven Knows I’m Miserable Now’
- Amanda Palmer & The Grand Theft Orchestra – pop song mashup
- Walk onstage with the vaccines
- 10 brilliantly shambolic guitar solos
- Music map of British bands
- 10 moments that defined 2012
- 64 beautiful band logos
- Most Read
- News
- Photos
- Reviews
- Blogs
- Video
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