A Quote by Julian Bream
I do think there is a valid reason that Segovia commissioned the composers he did. He was very much a pioneer, and what he wanted was a very listenable repertory. But I'm interested in different aspects of the guitar, and of music.
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For me, listening to Beethoven and Tchaikovsky in particular, there's an emotional aspect - very different kinds of emotional aspects from those two composers, nonetheless, very strong emotional aspects from both of those composers.
A lot of artists are good cooks as I'm too, but coming from a culture that was very concerned with food, I was very interested in that from the start. If you're interested in food, you're interested in lots of different aspects of culture. And it's like being interested in the music from a certain area, or writing, or whatever-food is part of that, too.
I think you jump into things without thinking ahead very much because I had never been in an airplane - even in a commercial airliner. I had never flown at all. I just wanted to be commissioned, to be a commissioned officer.
I wasn't interested in sport or anything obvious, so I didn't stand out. I was interested in music, but I couldn't read music, so I wasn't allowed to do the GCSE. I was interested in painting, but no one's interested in a 16-year-old boy who's interested in painting. I wanted to get out of school very, very quickly.
The type of acting that I'm interested in, that I aspire to, is where I try and drag a lot of myself into whatever character it is. They can be very different types of characters, but at the heart of it, I always wanted to be a very, very believable and rooted in reality. One of the ways of doing that is to root it as much as you can in your own experiences and then tint those with different hues, different colors to give the different characters their way.
... Andres Segovia literally created the genre of classical guitar, which hadn't existed before around 1910. There was flamenco, which he borrowed from, but he actually arranged the works of Mozart and other classical composers for guitar, something that had never been done before ... Segovias' style is not slick or contrived, but it's still very clean and his timing is impeccable ... it's got a feeling of casual elegance, as if he's sitting around the house in Spain with a jug of wine, just playing from the heart.
I'm very interested in the distance and the space between those two poles: very concrete, song-based stuff on the one hand and very improvisational, abstract stuff on the other. I don't see any reason music should exclude one or the other, and I think the pairing of them together makes for very interesting music in a lot of ways.
There was this kind of dictatorship of the Darmstadt school, composers like Boulez and Stockhausen, who were very strict and orthodox. They would not allow other composers to write the music they wanted to write, and only a certain kind of music could be played.
I think, you know, for someone who does play, let's say, old music or, you know, Baroque music or Renaissance music - and you know, and I do play a lot of that, obviously - engaging with new composers, engaging with young composers, is really exciting because it makes me look at people of the past in a very different way that they are also living, that there was a lot of subjectivity in the decisions that they were making.
I'm always interested in very, very futuristic music and bridging the gap between the physicality of organic guitar music and trying to translate that into something electronic is really fascinating.
Manet did not do the expected. He was a pioneer. He followed his individual whim. Told the public what he wanted it to know, not the time worn things the public already knew and thought it wanted to hear again. The public was very much offended.
I was very interested in highlighting group behaviour and I wanted to show that I think this is very fundamental about being a human being... that we are herd animals actually. So, I was looking for different situations that take place in different kinds of groups.
I grew up not really listening to guitar players. Especially when I was studying music, I was just interested in piano players and arrangers and composers; I came to playing in a band from the perspective of someone who never expected to play guitar in a band.
My wife is very interested in fashion. I am absolutely not. I couldn't give a toss. Fashion is a perfectly valid thing to be interested in. I'm just not particularly interested in pop culture. I think I am more interested in things that have a settled permanence about them.
I didn't have a fraternity-like experience. I mean, I grew up with an older brother and a lot of male cousins and we were very physical with each other. We were very rambunctious when we were kids. But I never thought much - nor did I have reason to think much - about institutionalized hazing. But I think there's a reason young men are drawn to it.
We were really interested in music from all over the world. We realized that what we were doing was very close to contemporary classical music because of the lack of tonality in the guitar- the fact that I play guitar the way I play.
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