McGregor’s critically acclaimed ballet triptych is set to music by British composer Max Richter and is inspired by the works of Virginia Woolf.
Why Virginia Woolf? Wayne McGregor On The Inspiration Behind Woolf Works
10 Pieces Of Advice To Young Artists
As Wayne Shorter and Herbie Hancock— two of the 20th century’s most consistently innovative musicians—suggest, artists at all times need a set of guiding principles.
First, awaken to your humanity
Embrace and conquer the road less traveled
Welcome to the Unknown
Understand the True Nature of Obstacles
Don’t Be Afraid to Interact with Those Who Are Different from You
Strive to Create Agenda-Free Dialogue
Be Wary of Ego
Work Towards a Business without Borders
Appreciate the Generation that Walked Before You
Lastly, We Hope that You Live in a State of Constant Wonder
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Work That Transcends Description And Speaks To Your Spirit
English National Ballet’s exciting Bausch / Forsythe / van Manen programme arrives at Sadler’s Wells in March
Of Bausch, Tamara Rojo said,
Pina Bausch was an incredible artist, and remains one of the most influential people in modern culture today. Her work transcends description; it affects you on a deep emotional level, speaking to your spirit and defying logical analysis.
Adding that she was was “truly honoured and humbled” to present the piece in London.
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Photo by Ulli Weiss © Pina Bausch Foundation
Interview: Joanna Lee, Composer
Who or what inspired you to take up composing, and pursue a career in music?
I essentially fell into composing – it was a required component of GCSE and A Level music so I started to compose for this and found the area of music I really loved; I preferred creating and experimenting with music rather than performing or repeating what already exists. I have played the piano since I was four – my Mother encouraged me to lessons – and I have never looked back; music has been my life and considering another career didn’t cross my mind.
Who or what were the most significant influences on your musical life and career as a composer?
There are several people that have been significant influences in my musical life. Initially, my childhood piano and school music teachers, who fed my endless musical appetite and encouraged me to composing and music college. From there, my undergraduate teacher Joe Cutler, the first person to teach me that there were actually living composers (!), whilst also having an open-minded approach to different styles of music. Plus other mentors who have selflessly shown faith and generosity to me as a young composer, such as Jane Manning and Oliver Knussen.
Hearing the Rite of Spring by Stravinsky during A Level was a revelation; I had not heard modern music before this. I am also from the east of Suffolk, where the incredible legacy of Benjamin Britten is strongly felt. A huge turning point was being introduced to the ‘avant garde’ composers and works of the 1950s/60s, e.g. Eight Songs for a Mad King by Peter Maxwell Davies, Aventures by Ligeti, Sequenza by Berio. This era initiated a prolonged period of inspiration and direction for my composition.
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The secrets of Mozart’s “Magic Flute”
Jeff Bridges On Working With The Character
Bridges explains, “The different parts I play, start with yourself and see what kind of lines up with the character. You might magnify those aspects of yourself that work with the character, or keep those parts of you that don’t match to the curve. With [Hell or High Water] a couple of things come to mind. One, my grandfather, Fred Simpson, on my mom’s side, was from Liverpool. He was a terrible teaser. I think my brother [the actor Beau Bridges] inherited that gene, too, because Beau was a great teaser, still is. And that was part of my character. I remember when my brother would tease me and get me crying, and my mother would say, ‘It’s just because he loves you so much,’ you know? That helped me with the stuff I had with Gil Birmingham [his co-star in the film, who plays] my partner who I enjoy working with so much.”
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