Quote

Like an apparently strict musical form it breaks the five minute whole into its structural parts - a descriptive preamble, the action of taking the cards, the development of the cards' manipulation and the revelation of what has been achieved.

Gavin Bryars

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Gavin Bryars
Age: 81
Born: 1943
Born: January 16
Composer
Double-Bassist
Jazz Musician
Musicologist
Goole
East Riding of Yorkshire
Richard Gavin Bryars
Action
Minute
Manipulation
Form
Parts
Revelation
Whole
Musical
Apparently
Like
Development
Strict
Taking
Breaks
Minutes
Revelations
Preamble
Break
Achieved
Descriptive
Five
Cards
Structural

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I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.
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Similarly you can make a transition from one set of instruments to another imperceptibly.
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People like Arvo Part would not have been taken seriously 20 years ago.
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The virtuoso element in jazz playing, all those very fast runs in the upper extremes, simply doesn't appeal to me. That's why I don't want to make my concerto virtuosic in the sense of a technical show-off. I want a beautiful sound and a melodic and lyrical line. I am more interested in the way someone can play musically.
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I know that John Adams has had a very hard time directing French ensembles.
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Craft is part of the creative process.
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As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
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Writing tonal music now, you are not writing into the 19th Century.
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One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.
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I currently spend a lot of time thinking about orchestration and every detail of a piece.
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I work very fast, keeping the ideas flowing but making sure they come out the way I intended.
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I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.
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It makes sense to invest in new work. It's almost like having a research department in a scientific laboratory. You have to try things out. You'll make some bad mistakes. Some things will fail but at least you'll energise the organisation.
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Music history has flowed under the bridges for many years.
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It's rather like attending a university seminar where you are talking to a few gifted specialists who deliver a paper to an audience of their peers. That's one way of making music.
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The academic area of new music or modern music festivals is not something which attracts me at all.
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