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VANGELIS Interview 2016, English Version


About Synthesizer, Art and the Future

Vangelis Soundtrack zu "1492" von 1992

Vangelis Soundtrack zu „1492“ von 1992

Peter:
I want to come back to your signature sound which was in the 90’s dominated by synthesizers. With the soundtrack for 1492, this changed. Your records increasingly became orchestral with large string sections, acoustic horns and lush choirs. Were you just done with the synthesizer sound or did you have the feeling that a classical orchestra was more suitable to express your musical ideas?

Vangelis:
The creation of the sound that you’ve mentioned it was nothing more than what the film needed. Apart from a Spanish guitarist and a classical choir in one track, I created this soundtrack alone with no other musicians and the 90% of this soundtrack is performed by me keeping, as I mentioned, the first take without overdubbing,

Peter:
If you had the technical abilities of today back in the 70’s, would you have created that sound already back then? We are curious to find out what made you go for the sound of an orchestra, since it seems that synthesizers allow for a much greater flexibility

Vangelis:
For me, a sound is a sound no matter where it comes from. As I mentioned to you before, to put labels and to separate the acoustic sounds-as wrongly they have been called- and the synthesizers is a big mistake.

Peter:
Many of your most amazing pieces are so remarkable, because the soundscape was one of a kind and, at least back then, really new and innovative. On the 25th anniversary edition of the soundtrack to BLADE RUNNER released in 2007, many of the pieces were dominated by a synthetical sound, while many elements on ROSETTA are more orchestral. How would you define the sound of Vangelis today?

Vangelis:
Is up to you to do it. Not to me. But basically up to the time.

Vangelis 2016 on his Yamaha CS-80

Peter:
Staying on the subject of ROSETTA … one of the astronauts supposedly contacted you directly from the ESA ISS. This sounds like a nice PR-story, but how did this really come about, and what fascinated you with this project?

Vangelis:
This encounter is far for being a PR story. The Dutch ESA astronaut, the physician Ande Kuipers it is a fan and he tried to get in touch with me few times at the past. Finally, we managed to speak for the first time, while I was living in London and he was “living” for few months at the International Space Station. It was a fantastic experience for both of us. We spoke for almost an hour through a connection that NASA arranged. We discussed about many things, he showed me the Space Stations, he told me about his work there, we talked about space and we find that we have an equally interest in those subjects. We agreed, than when he’ll return to Earth to meet and continue our interesting talks. And we did. He visited me and among other things he told me about ESA. Very soon after, I met ESA’s scientists where they mentioned about the Rosetta Mission. After a while, they asked me to compose the music for the meeting of Rosetta with the comet and the landing of the probe Philae on it. Gradually, we decided to make a whole album out of this to celebrate that amazing Mission. That gave me such a pleasure to support in my way Europe’s space endeavors. Because until that moment, I was doing the same thing for NASA, which I still do.

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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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