|
|
|
|
|
Member
|
Member
Joined: Apr 2007
|
We'll have to get up early on Sunday, pals to listen to this: http://www.bbc.co.uk/programmes/b01rsdssMary Anne Hobbs helms BBC Radio 6 Music with a beautiful Weekend Breakfast blend of music, stories and iconic guests. In '3 Minute Epiphany', Mary Anne asks an expert to answer the questions we most want to know about. This time around it is the turn of Ultravox's (sic.) John Foxx, who describes the perils and pleasures of making music with machines. Will electronic music take over and remove man from music altogether?
|
|
|
|
|
|
Member
|
|
Member
Joined: Apr 2007
|
..not to mention the article in The Quietus itself with this news from Sir John: "At present there’s more Maths – we’re working on another album at the moment. We’d like to get Hannah [Peel] involved in this one from the start – that violin and voice are unique – not to mention her synth and piano playing. The most talented all-round musician I’ve ever worked with. It would also be good to get Serafina [Steer] in as well – she’s justifiably wrapped up in her solo career at the moment, so we’ll see.
"Then there’s a long list of projects already begun - a domestic piano record with empty room recordings - Electricity & Ghosts. Another Harold Budd and Rubin Garcia. Rubin passed away recently but he and Harold had already sent some tracks so I’d like to work on them. A record with Diana Yukawa and Benge - Diana’s a phenomenally talented classical violinist, who wants to see what modern recording techniques can do with her skills – it’s a real adventure for the three of us.
"Then there’s one with Robin Simon, plus a pure electronic melody record I can’t quite classify yet – analogue electronic tunes. Sort of fairground, BBC, Blackpool-Tower-Ballroom-via-Las-Vegas-on-a-satellite-Theremin music. And a few others, too. Always healthy to have a long list."
|
|
|
|
|
|
Member
|
|
Member
Joined: Apr 2007
|
|
|
|
|
|
|
Administrator
|
|
OP
Administrator
Joined: Dec 2006
|
John Foxx features in the September '13 issue of North-East Music Magazine, talking about the inspiration he finds in the work of Erik Satie:  Who is your musical hero or, if you prefer, inspiration?
Erik Satie
When did you first hear about this person and hear their music?
I was at art school in the mid 1960’s. A nice old place in Preston Lancashire. A girl I knew played a piece of music on a piano in the old lecture theatre. It was the most beautiful thing I’d ever heard. I can still picture the moment – doors open on Avenham Colonnade early summer. She told me the name of the piece and I wrote it down. That was Gymnopedies by Satie. You hear it quite often now, but in those days it was fairly obscure – it didn’t fit with anything else, really - a bit of an anomaly.
What makes the person a hero to you?
He had the quiet courage to be himself – at the time he was composing, Wagner was dominating everything – huge Germanic pieces for full orchestra. Satie simply stood aside and made minimal music for a single player on a domestic upright piano. Totally unfashionable in those days. He was the first minimalist and his work is still the most beautiful I’ve ever heard. Of modern composers, only Harold Budd comes close.
What was his or her finest work in your opinion?
The Gymnopedies pieces.
Is there any other reason why you admire this person?
He was a friend of Picasso, Jarry, Breton, Debussy, Duchamp – Paris at that time was the centre of the modern art world, The Dadaists and Surrealists were manifesting their new ideas and Satie was working with them all.
He was also among the first to listen to ragtime and Scott Joplin, He played piano in nightclubs and worked in a few of his compositions.
He had little money during his lifetime and walked miles through Paris every day, to and from his work in music halls and nightclubs . He was also an eccentric and loved word play. Always wore the same suits, looked like a bureaucrat and often played word games with his titles – “Three Pieces in the Form of a Pear”, for instance.
Can you see any parallels between your music and this person’s?
I hope so.
What relevance does this person have today?
His music is increasingly relevant – the world is so crowded and frantic now. Satie provides a place of quiet sobriety and reflection - far away from all the agitation. We need him more than ever.
In modern terms, you might say he was the first minimalist. He really invented that approach in music.
True minimalism is concerned with isolating something dignified and beautiful and presenting it without unnecessary additions, so you can appreciate it fully. When it works properly you find yourself in a sort of timeless, luminous space. Satie did all this instinctively – he was the first and best.
Have you met your hero? If so, how did it come about and can you recall anything particularly memorable about the meeting?
He died in 1925
If you haven’t met your hero but could, what would you ask him or her?
Swift transition of time and place. It’s 1910. We’re wearing the old grey suits. Glimmer of wire framed glasses. “Let’s meet up with Picasso first - then all the others. Drinks are on me”.
|
|
|
|
|
|
Member
|
|
Member
Joined: Dec 2006
|
Great piece, thanks for sharing!
Last edited by the church puddle; 08/17/13 03:48 PM.
|
|
|
|
|
|
Member
|
|
Member
Joined: Dec 2006
|
There's a new FACT piece here.
|
|
|
|
|
|
Administrator
|
|
OP
Administrator
Joined: Dec 2006
|
That's a pretty good piece. Thanks for sharing it here
|
|
|
|
|
|
|
