giovedì 27 settembre 2012

Interview with Geoffrey Morris, second part

Italian Translation
What does improvisation mean for your music research? Do you think it’s possibile to talk about improvisation for classical music or we have to turn to other repertories like jazz, contemporary music, etc.?.?

I use improvisation a lot in my teaching and I am very interested in improvisation in early music but I am not so interested in improvisation in new music or ‘free’ music only because I have heard a lot of it and it seems a field in which doing it is a lot more interesting than listening to it in most cases. Having said that I love the CD of Pat Methany and Derek Bailey live together. But coming back to early music I love the use of improvisation or division as it now rememerging amongst lutenists and others. It allows for a very personal performance.

Listening to your music, I noticed the quiet serenity with which you approach your instrument regardless of repertoire, from whom you are playing, the composer, the instrument that you use always showing full control both technical and emotional, how much important is to work on technique to achieve this level of "security"?

The guitar is a very ‘technique’ heavey isntrument. You need to be on top of and always open to development. I don’t think the technique I now have is even remotely related to the technique i learnt from my teachers. It comes from playing chamber music...having a good conductor point out things about your playing...projecting within a mixed ensemble...accompanying a good singer. These things push you. There are some guitarist in Australia who are completly obsessed with technique though. To the point of a kind of vanity overiding musical expression and purpose. Anyway if I have a goal in technique it is to be able to change and adapt to the repertoire and the instrument I am playing.

It Seems to me that there is a small music scene about classical guitarists dedicated to an innovative and contemporary repertoire, as well as you come to my mind the names of Marco Cappelli, David Tanenbaum, David Starobin, Elena Casoli, Emanuele Forni, Marc Ribot who played John Zorn music ... shall I speak about a music scene? Are you in contact between each other or operate independently? Are there other guitarists you know and that you can suggest us that they move on these musical routes?

I have had a lot of contact with Elena Casoli. In fact I organised a concert for her here in Melbourne. It was great and she is a terrific player. Seth Josel is a great player who works mainly with the electric guitar and Jurgen Ruck of course. There are lots of good players of new music now which is as it shoud be. Because I am on the other side of the planet though means I am very isolated which is at times a big problem. My new music practice in Australia has nothing to do with the guitar scene here. In fact I lead two quite seperate lives!

You have played with Maurizio Pisati for his Teathre of Dawn, what do you remember about that experience?

I have been playing Maurizio’s music since 1993 when he composed Dercialet for Elision. I have played his sette studio, arrangements of music by Scarlatti and Sciarino and heaps of other chamber works three with film accompaniment. He is a really interesting composer and I think one of the few who have really combined compositional technique and skill with a truly indiginous understanding of the gutiar. His “Theatre of Dawn” is a wonderful work and needs to be presented in a major festival and given some real support and i believe the audience for the work could be excellent.

to be continued

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