![]() After Kathy had done the general layout with the photos and the painting for the front cover, we then got a graphic designer-Rod Steele-to finish it. I wanted to produce it in a classy package, with the folding cardboard, not in the usual plastic case which breaks. I wanted to do it in my own way, with the lovely cover design which my wife Kathy painted a propos the title, From a Bird. I wanted to make sure that it was totally owned by me, so that I can then re-release it, and license it if necessary in different countries. The main one is that, being mostly my own pieces, I didn’t want the recording to be the victim of Sony or any other big recording company deleting it in a few years” time, which they do often, or of not having it distributed properly. There are two reasons why I released the recording myself. Have you abandoned Sony?ĭo you feel that this recording marks a big shift in your career? I spoke to him about his From a Bird recording and his compositions which, as always, led us down many paths of music-related discussions.Ĭlassical Guitar: It is quiet a momentous occasion when an artist of your standing releases a CD on their own and, what’s more, of your own compositions for the first time. However, for a recording of his own compositions, he has chosen to make a private recording release. While many artists have sought out other avenues for their releases, John Williams has continued to release his valued recordings on Sony Classical. It is well-known that the recording industry has been experiencing difficulties and crises for many and varied reasons, including having to adjust to the demands of the ever-changing and rapidly developing digital formats as well the changes in the marketing of music. When I compose music, I start with what I know and love, and just start changing things until it sounds like me rather than Brahms.Interview by Therese Wassily Saba | From the September 2009 issue of Classical Guitar Music was considered disposable anyway, to be played once and then discarded, so they just did what we would now call "brand engineering" to get the best mileage out of good ideas without letting on to the Prince that he was not, in fact, the first and last person ever to hear this particular trio. ![]() Hell, if you go back to the Baroque era, composers like Bach, Handel and Vivaldi took each others' music, or parts of it, and slapped their names on it for a performance. The Grieg Piano Concerto, and particularly the first movement, is an undisguised rewriting of Schumann's Piano Concerto - and Rachmaninoff went one step further by writing a First Concerto that was almost indistinguishable in many parts from the Grieg, which he adored. Samuel Barber uses the rhythmic motto from the opening of Beethoven's Fifth Symphony at least once in literally everything he wrote, and Ives' Second Sonata uses it every couple of bars. ![]()
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