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VANGELIS Interview 2016, English Version


About Synthesizer, Art and the Future

Vangelis aktuelles Studio in Paris

Vangelis aktuelles Studio in Paris

Peter:
In the past you had records like for example „Beaubourg“ that, let’s say, departed from the traditional Vangelis realm. Was that sort of a rebellion or simply an experiment or an attempt to finding yourself?

Vangelis:
I can’t understand how is possible to discuss and take it seriously an architecture monstrosity like Beaubourg which led me to create another monstrosity the album Beaubourg which I never took it seriously and I never felt proud of it. So, let’s not continue talking about such a crap.

Peter:
The music of the artist Vangelis and Synthesizers are, for many people, fused together and are synonymous even though there was a time before you used Synthesizer, and some of your work today is sounding more like a classical orchestra. What role did the Synthesizer play for you in the past, and what are they playing today?

Vangelis:
All my years I was saying that the music is the most important force of the Universe and its generator. The extraordinary thing is that the primitive man, having to face all the difficulties of survival, at the same time he found the time to create the first instruments. Therefore, a stretched skin became a drum, few holes in a bamboo became a flute and few tied strings became a harp and so on. I don’t consider that as a luxury for these people but as a basic need. That is something that continues until our days. All these various instruments, we consider them as acoustic or natural instruments. My question is, what about the thunder, the rain, the wind,, the forest, the sea? Even, what about our bodies or the Earth and every other planet? These sounds are not coming form nature? Everything in nature is palpitations, waves and vibrations. So, is evident that sound comes from everything in respective the source. It bores me to explain the most obvious that I don’t see any difference -if is any difference- in the way that we use the sound. The basic argument rises if we use electricity or not to produce sounds. Therefore, all the instruments that I mentioned before they are considered, in general, naturals while the synthesizers, because they need electricity to produce sounds, are not naturals. What a thought. Who can tell me that electricity is a not natural element. I consider myself very fortunate, to live in a century that science and technology offer more ways to extend the needs of music. I believe strongly, trying to separate these two sources, it would be a big mistake

Peter:
Coming back to Synthesizers and your past: when was the moment you discovered your fascination with Synthesizers? Do you still remember that moment?

Vangelis:
It was around 1973-1974 when I was given to try a couple of “CORG” monophonic synthesizers and immediately I felt the whole world to open in front of me. All thought they were very basic, I immediately imagined what will follow in the future. This is what I call a positive progress and not an inhuman architecture e.g. like Beaubourg [the Centre de Pompidou Building in Paris].

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    el-folie

    Thanks a lot for this interview, it´s like an extra christmas gift for me :)

    Vangelis, if you´re reading this, thanks a lot for all the music you gave us so far. It´s a pleasure seeing you sitting by the CS-80 still in 2016. I can only hope one day you will be able to release the old NEMO Studio tapes and maybe an official ‚Bitter Moon‘ soundtrack.

    As a human being with sensitive antennas I´m quite aware that your music is more than just music but like a translation of space, life and love in music as to be able to be perceived by human senses. Channeling those energies is quite a lonely and important task in a world where greed, power and money for most people is of overwhelming and higher importance.

    I really admire what you´re doing and sometimes I wish I could visit the old and long gone NEMO Studios in London just to experience the atmosphere where all the early works were received, where space energies and stardust became alive through your hands and became music.

    Thank you Mr. Vangelis and all the best wishes

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      tantris ••

      Stimmt, bei diesem Interview, das wahrscheinlich für den Literaturnobelpres 2017 nominiert wird, kann in der deutschen Übersetzung viel Tiefsinn verloren gehen.

      Beispiel „Is up to you to do it“ könnte man übersetzen mit „Machs doch einfach selber“ oder „Kannst Du so machen, dann ist es halt Kacke“.

      Das ändert natürlich einiges am Sinn dieser vielen tiefschürfenden Aussagen.

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