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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.

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
Friends
Digital
Plant
Record
Hollywood
Europe
Sceptical
Records
Mastering
Technology
European
Understanding
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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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People like Arvo Part would not have been taken seriously 20 years ago.
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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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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.
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Music history has flowed under the bridges for many years.
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Writing tonal music now, you are not writing into the 19th Century.
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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 currently spend a lot of time thinking about orchestration and every detail of a piece.
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I know that John Adams has had a very hard time directing French ensembles.
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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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The academic area of new music or modern music festivals is not something which attracts me at all.
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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 am writing something which I find satisfying and which I am prepared to put my name to as a composer.
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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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I work very fast, keeping the ideas flowing but making sure they come out the way I intended.
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