A Quote by Simon McBurney
Mozart's seeming frothiness is just a light touch with very profound material. That's what I've found working on 'The Magic Flute.'
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My proposition is that music is at the heart of what 'The Magic Flute' means: that it's Mozart's music, not the words, we should be attending to. Music expresses what can't be expressed otherwise.
The most perfect melodic shapes are found in Mozart; he has the lightness of touch which is the true objective ... Listen to the remarkable expansion of a Mozart melody, to Cherubino's 'Voi che sapete', for instance. You think it is coming to an end, but it goes farther, even farther.
[My work] is using light as a material to influence or affect the medium of perception. I feel that I want to use light as this wonderful and magic elixir that we drink as Vitamin D through the skin - and I mean, we are literally light-eaters - to then affect the way that we see.
QUINCE Francis Flute, the bellows-mender. FLUTE Here, Peter Quince. QUINCE Flute, you must take Thisby on you. FLUTE What is Thisby? a wandering knight? QUINCE It is the lady that Pyramus must love. FLUTE Nay, faith, let me not play a woman; I have a beard coming.
I found a great deal of relief and excitement watching comics when I was very young. My grandmother was very into them and so was my grandfather. They had a profound effect on me, so I just found myself watching comedians on the after-school shows: Merv Griffin and that kind of stuff.
I found that the flute was too limiting. Soon I bought a microphone, then loudspeakers, then an echo, then a synthesiser. Much later I threw the flute away; it was a sort of process.
Everything I do is alchemy. That's why I believe in magic. Not black magic, not the satanic magic that they practice in Hollywood and that the deep state practices and that the media practice. I believe in good magic, light magic, alchametic magic.
I'm just trying to touch the world and touch the people and just get good material. And show them that we can get it done. Just because you're African American, you still can touch the masses. And that's my goal. I won't stop until that goal is continued to push it hard to the world that we are the universal person as well.
There's the whole significance of Krishna as the flute player who awakens our consciousness. It doesn't necessarily have to be a flute because for me it was a sitar or a guitar or even Elvis Presley doing "Heartbreak Hotel." It was like Krishna's flute calling me somewhere. It's just really simple when we can remember.
A genuine sense of humor is having a light touch: not beating reality into the ground but appreciating reality with a light touch. The basis of Shambhala vision is rediscovering that perfect and real sense of humor, that light touch of appreciation.
"It is light that reveals, light that obscures, light that communicates. It is light I "listen" to. The light late in the day has a distinct quality, as it fades toward the darkness of evening. After sunset there is a gentle leaving of the light, the air begins to still, and a quiet descends. I see magic in the quiet light of dusk. I feel quiet, yet intense energy in the natural elements of our habitat. A sense of magic prevails. A sense of mystery. It is a time for contemplation, for listening - a time for making photographs. "
I owe very, very much to Mozart; and if one studies, for instance, the way in which I write for string quartet, then one cannot deny that I have learned this directly from Mozart. And I am proud of it!
I also always carry my flute. It's very important for me to try to relax when I'm travelling, and playing my flute helps me to unwind.
This time it had been magic. And it didn't stop being magic just because you found out how it was done.
I started to study the flute in 1951. The flute has been utilized by African-American musicians as far back as the early Twenties. If you take a look at some of the old pictures of Chick Webb, then you will see the flute right there on the bandstand among the woodwinds.
Schubert had arguably the same melodic gift as Mozart, but even less support. He didn't have the early exposure, never got to travel anywhere, and yet generated and amassed a body of work that grew and developed and is very profound.
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