A Quote by Anne Akiko Meyers
Even though I started playing the violin when I was four, my early chamber music experiences helped build a strong foundation for my solo work, as all music is a rich language and dialogue that is shared on stage, no matter what the size of the ensemble.
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The chamber music repertoire is so vast that if one is genuinely curious about music, the art of listening, understanding and responding to a score, the elementary skills and requirements of chamber works are easily applicable to that of any solo playing.
The way I like to think about it is, even though I started music early - I started in classical music - it wasn't until I discovered jazz that I really fell in love with music and realized this was what I wanted to do for a living.
I never liked opera growing up. I always liked chamber music or solo music even more than orchestral music.
When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.
Well my dad forced me into playing the violin when I was about three and it all started from there. I went to Suzuki for violin lessons, and you learn to play by ear instead of reading music.
Writing for chamber ensemble is the thing that excites me the most. So when I went down into the cistern, I didn't know that I was going to make a record based on that time and those improvisations. But as soon as I started playing music down there, I realised that it was going to be something significant for me.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.
I started playing violin when I was about five years old and I learned to read a little bit of music, but that's all been long, long forgotten! I actually quit violin to teach myself guitar and just went from there.
Open Graph is a language for structuring content and sharing that goes on in other apps, and we're continuing to build it out longer term. But we found we need to build more specific experiences around categories like music or movies. Where we've taken the time to build those specific experiences, stuff has gone quite well.
I approach everything as chamber music. Even with Beethoven symphonies, I lead from the violin and basically encourage the orchestra to think of it as a giant string quartet.
I started playing violin because I was fascinated by how violin players could play so fast. I would buy their cassettes, and learn different concertos, but then I started rounding out my collection. My dad was a big jazz fan, so I just started hearing a lot more soul music. I loved Little Stevie Wonder, and I got really into him as a singer and a writer as I got older.
In the early days of jazz, it was ensemble music: everybody playing all together. Nobody really stood out.
When I was playing with synth players, I was still within a conceptual framework of playing music. When I started playing solo, I became much more aware of the acoustic phenomena that the instruments were producing.
Even though I grew up playing folk music - and surf music, originally - I was listening to Motown and Stax on the radio as well. That music always resonated with me.
When we talk about music, we tend to place our experiences into one of two categories: making the music and listening to it. Delineating the two seems practical and obvious. In reality, though, there are a lot of opportunities for overlap, and it doesn't matter how you get into the music as long as you connect with it.
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