Quote

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.

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
Make
Failing
Organisation
Things
Mistake
Laboratory
Like
Least
Invest
Almost
Department
Sense
Scientific
Makes
Fail
Trying
Mistakes
Work
Research

More quotes by Gavin Bryars

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I currently spend a lot of time thinking about orchestration and every detail of a piece.
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People like Arvo Part would not have been taken seriously 20 years ago.
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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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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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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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I work very fast, keeping the ideas flowing but making sure they come out the way I intended.
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Similarly you can make a transition from one set of instruments to another imperceptibly.
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I know that John Adams has had a very hard time directing French ensembles.
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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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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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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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Writing tonal music now, you are not writing into the 19th Century.
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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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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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One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.
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