jeudi 8 novembre 2018

13 Questions to Sequentia Legenda while waiting for "OVER THERE" (second part)

Sequentia Legenda interviewed by Bertrand Loreau
(second part)


Sequentia Legenda Berlin School music

PROVIDE A PART OF DREAM


Bertrand Loreau:
"You claim the influence of Klaus Schulze and obviously your works, especially through their structures, recall the constructions of his pieces. Do you think, however, that your personal sensitivity is strong enough that you are not seen as a mere imitator of the Berlin artist."

Sequentia Legenda:
  
"I am naturally flattered and proud to be able to read everything that is said about me and my music, all the comparisons with Klaus Schulze. And how can you not be? However, I have my own personality, my own vision of Berlin School and enough sensitivity to express my emotions through my titles. I believe that if you play the music that comes from your heart and soul, listeners will perceive this music as authentic and sincere. I am simply happy to be able to share my own musical vision, to provide a part of dream, a moment of relaxation and escape."



THE PERIOD WHEN KLAUS USED ANALOG SYNTHESIZERS


Bertrand Loreau:

"Do you enjoy all of Schulze's discography or do you avoid certain periods?"

Sequentia Legenda:
  
"It was on a summer afternoon in 1980, I was 15 years old and I was browsing through my parents' vinyl collection. Among all the albums, a cover with a stylized portrait in green and blue intrigued me. After a closer look at this original layout, I decided to put the LP on the record player. From the very first minutes, it was love at first sight. Klaus Schulze's album "Mirage" was a real trigger for me! "Mirage" is my favorite, I also like "Moondawn", "Timewind", both "Body Love", the double album "X" for the analog period. "Dune" is a special album for me with two very different tracks and a very particular atmosphere, sometimes at the limit of the oppressive, but with a totally unique sound research work. "Totem" is an early career work that I find interesting with the early sequences. For the digital period, it is "E=Trance" and especially "Trancefer" that caught my attention. Then I landed after the album "The Dresden Performance". The previous titles, "Angst", "Inter*Face" or "Miditerranean Pads" had not totally seduced me.

Even today, it is the period when Klaus used analog synthesizers that I like the most and that I find the most interesting in terms of creativity. That doesn't mean that I didn't like everything that followed. For example, I found "Are You Sequenced?" with an interesting use of sequencers. Klaus' latest album "Silhouettes" is also remarkable in some respects, with an atmosphere that reminds me of his early career.
"



THE REBIRTH OF A CERTAIN BERLIN SCHOOL


Bertrand Loreau:
"Have you ever met people who love your music and who are not fans of Klaus Schulze?"

Sequentia Legenda:
  
"
Good question. I don't know if all Klaus Schulze fans love my music and vice versa.
I have had a few feedback from people who discovered my music and who didn't really know the German master. I found it interesting, giving me good hope for the rebirth of a certain Berlin School.
"

OVER THERE Berlin School music

THIS BEAUTIFUL MUSICAL MOVEMENT


Bertrand Loreau:
"Do you think your work can help people discover the reference records of electronic music of the 70s?"

Sequentia Legenda:
  
"I would of course be delighted. If I can contribute my part to the building of this beautiful musical movement then I will have finally succeeded in my bet.
It is a pleasure to be able to share in my own way the richness of this period and to bring this special atmosphere to the fore.
"


MY HEART STILL HAS ENOUGH TO OFFER


Bertrand Loreau:
  
"How do you imagine the music you will make in 5 or 10 years?"

Sequentia Legenda:
"It is difficult to answer this question in a totally objective way. So much can happen and therefore influence my creativity to some extent. In 10 years who knows if I'd still be making music? One thing is certain, if I still had to compose, then my heart still has enough to offer, to share. I cannot conceive my music without passion, without soul and emotions. So I can imagine music that is in continuity with the music I am currently producing, certainly with greater maturity and perhaps more mastery."


Sequentia Legenda Berlin School music

I LIKE STRINGS, SYMPHONIES, CHOIRS


Bertrand Loreau: 
"Do you listen to other music that relies on repetition, loops. Do you listen to acoustic and orchestral music such as Glass' or traditional music?"

Sequentia Legenda: 
"To be totally transparent, I certainly don't listen enough to what others are doing, I don't find enough time to listen assiduously to the music of others. One of the few times I listen to music is on the road between work and home and it is often classical or jazz music. I have always had a great respect for the composers of the Great Music, Beethoven, Mozart, Bach, Wagner, Berlioz. I like strings, symphonies, choirs. Jazz relaxes me. I don't like opera."

MY SENSITIVITY COMES FROM DEEP WITHIN ME


Bertrand Loreau:
  
"About your sensitivity, can you explain where it comes from and why you feel the need to share it?"

Sequentia Legenda:
  
"That's a hell of a subject, a big theme. My sensitivity comes from deep within me, I perceive many things, I feel things with great amplification. It is sometimes even difficult for me and others to live with. I have a great sensitivity and I have trouble hiding my emotions so I literally have to expel what touches me through painting, writing or music and also through sport. It is a need: to share, to communicate, to free myself.


Most recently, it was the diagnosis of my youngest son's autism that touched me greatly and affected my emotions in a very difficult way. Besides his handicap, Valentin gives me a lot of love and I am proud of him, he has opened my eyes to many things. He too is endowed with a great sensitivity :-)
"

 

An extract of what will be the atmosphere of this project

 

 


MIND LAKE by Sequentia (work in progress).


This extract is still in its experimental version, it is a foretaste, a perspective of my musical vision for 2019. The work remains focused on the symbiosis of the sequences with the pads. It is a sound palette close to the analog era, with the touch of current instruments.
The sound landscape of this title is for me the closest to my musical ambition, to my vision of the Berlin School of today and tomorrow.


Sequentia Legenda Berlin School music

A RELATIONSHIP WITH THE PIONEER OF THE BERLIN SCHOOL


"Since the 1980s many artists have been attracted to electronic music, and synthesizers, after discovering the works of Klaus SchulzeTimewind, Moondawn, Mirage, Dune and to a lesser extent Trancefer and Audentity made the German composer a model that many wanted to imitate. Schulze produced his masterpieces in a period from the advent of analog to the beginning of digital. 

The composer Sequentia Legenda is part of this third or fourth generation of synthesizer masters who claim a relationship with the pioneer of the Berlin school. He produces music that blends reminiscences of the analogical and digital periods of Schulzian art, taking the risk of systematizing the principles of Mirage's composer. We find the sequences that curl up on the entire face of a huge vinyl, and the transpositions that resound like thunderclaps to provoke the expected thrill. But Sequentia sometimes goes beyond what Schulze did in the 70s as if he was trying to go beyond the limits imposed by the master in order not to create ruptures with his audience. Chords can be held for several minutes and sequences are built and deconstructed by separate elements during very slow and subtle mixing. 
Sequentia Legenda takes the risk of sometimes disturbing and being perceived as a mere interpreter of recipes already often used in cosmic music. But you have to see it differently. Sequentia Legenda explores the limits of musical concepts that may not have said everything. His work on sound and his desire to hypnotize, rather than seduce, make his works establish a bridge that may not have existed between real Berlin School music and ambient music. By avoiding solos and ruptures, his music can be perceived as an accompaniment to an imaginary place or space, in the same way as some 
of Brian Eno's works."

Bertrand Loreau

Bertrand Loreau
has been recording albums for the Musea and Spheric Music labels for almost 30 years, he has approached many styles ranging from melodic to electroacoustic music through the Berlin School.

Bertrand Loreau's discography at Patch Work Music

OVER THERE

Release scheduled for March 3, 2019




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