Trois questions sur " Solitudes Lunaires "

Pouvez-vous nous expliquer ce voyage en apesanteur ?

UNE SOURCE D'INSPIRATION ET D'ÉVASION

Thierry Moreau : " Avec ton titre " Solitudes Lunaires ", tu rends hommage à Jules Verne, peux, tu nous expliquer ce voyage en apesanteur dont la substance nous évoque à bien des égards l'hommage à Franck Herbert " Dune " de Klaus Schulze. Tu nous invites à l'introspection lunaire ? "

Sequentia Legenda : "J'ai beaucoup d’admirations pour Jules Verne et il me tenait à cœur de lui rendre hommage. Il est à mes yeux un conteur de rêve, un astronome, un professeur de géographie, un aventurier. En lisant ses voyages extraordinaires, c’est tout un univers onirique qui s’ouvre à moi et qui nourrit avec délectation mon imagination. C’est une source d’inspiration et d'évasion. Solitudes Lunaires est un clin d’œil à "Autour de la Lune ". Lorsque j'avais dix ans, je voulais tout comme lui devenir écrivain ! Mes favoris : " De la Terre à la Lune ", " Voyage au centre de la Terre " et " Vingt mille lieues sous les mers ".

Voici un extrait de " Autour de la Lune " : " [...]Le projectile a dû atteindre la Lune au moment où elle était pleine, le 5 à minuit. Nous voici au 11 décembre, ce qui fait six jours. Or, en six fois vingt-quatre heures, sans obscurité, on a le temps de s’installer confortablement. Il me semble que je les vois, nos braves compatriotes, campés au fond d’une vallée, sur le bord d’un ruisseau sélénite, près du projectile à demi enfoncé par sa chute au milieu des débris volcaniques, le capitaine Nicholl commençant ses opérations de nivellement, le président Barbicane mettant au net ses notes de voyage, Michel Ardan embaumant les solitudes lunaires du parfum de ses londrès[...] ".

La littérature et la musique ont des analogies, notamment celle de faire voyager, de faire rêver. Jules Verne a su avec brio faire voyager ses lecteurs, avec cette composition, il était important pour moi de transporter les auditeurs vers une introspection lunaire.

Les chœurs séraphiques, les sonorités scintillantes, les nappes lointaines contribuent à l’ambiance lunaire. La texture rythmique est créée par les oscillateurs du Minimoog poussés en auto-oscillation. L’ensemble est amplifié avec des temps réverbération assez long et des échos stéréophoniques. Les boucles de notes sont comme une suite de mots, racontant une histoire, décrivant le paysage sonore : les mers, les vallées, les cratères, les mystères et la douce clarté solaire. L’imagination joue un grand rôle dans l’interprétation.
Alors, pourquoi ne pas se laisser aller à imaginer le chant des Sélénites accompagnant cette musique lunaire ? Libre à chacun d’interpréter ce poème musical, de vivre à sa façon l'exploration méditative de ce monde sélénique.

Pour la petite anecdote, mon fils aîné, à l’écoute de cette pièce avait écrit ceci : " Papa, lorsque j'écoute cet extrait, j'ai l'impression d'être tout seul sur la Lune ! ".

Et enfin, je tiens à dire, que je suis honoré de savoir que mon titre dans sa substance puisse ainsi être comparé à l'album " Dune " de Klaus Schulze. "

UN MOTIF SONORE EN PERPÉTUEL MOUVEMENT

Thierry Moreau : " Ton travail alterne une ligne mélodique et une séquence qui nous guide vers un voyage, comptes-tu faire un album complet en hommage à l'univers de Jules Verne ou à un roman en particulier ? "

Sequentia Legenda : " Cette alternance peut être comparée aux marées provoquées par la Lune, c’est une trame sonore en perpétuel mouvement, qui va et qui vient tout en s’amplifiant, en se métamorphosant subtilement. Elle berce l’auditeur dans l’espace sonore. Les séquences, elles aussi, sont évolutives, formant des combinaisons, des constellation, s’entremêlant et se confondant dans l’atmosphère globale.

Créer un album en hommage à Jules Verne est en effet une idée intéressante. À voir... "

UNE INVITATION AU RÊVE, AU VOYAGE, À LA MÉDITATION

Thierry Moreau : " Ton imprégnation de la Berlin School est évidente et tu es identifiable immédiatement, ne crois tu pas que la charge émotionnelle qui se dégage est due en partie au fait que tu aimes inviter les gens aux voyages ? En l'occurrence chez Jules Verne ici ? "

Sequentia Legenda : " En dehors du fait que ma musique soit une invitation propice au rêve, au voyage, à la méditation, je pense que les auditeurs perçoivent au travers de mes compositions ma sensibilité, mon authenticité, ma vision d’une Berlin School épurée.

Je partage mon langage musical avec passion et bonheur. Pour profiter pleinement des univers sonores, il faut se donner du temps, se mettre dans de bonnes conditions d’écoute. Par la suite, c'est une association d'émotions qui s'opère et l'immersion pourra alors être vécue pleinement. "

  

Le titre SOLITUDES LUNAIRES a été revisité et remastérisé spécialement pour cette occasion. Les chœurs du Mellotron ont été ajoutés. Le Minimoog est présent pour la partie finale.

Une cymbale est venue soutenir les impulsions rythmiques des oscillateurs en auto-oscillation.

La durée est légèrement plus longue que la version originale du double album " EXTENDED ".

Selenic world 0:00 à 10:08
Electric blue glow of Aristarchus 10:08 à 11:44
Mare Tranquillitatis 11:44 à 18:08
The mysterious side of the Moon 18:08 à 22:56
Mare Serenitatis 22:56 à 26:38

SOLITUDES LUNAIRES

Thierry Moreau
est un graphiste, doué d'une grande sensibilité, un amoureux des arts et de la culture. Un homme ouvert et généreux – un artiste.

Il est issu des Beaux Arts. Il a exercé dans des studios de création et agences de communications. Il a travaillé pour des Labels de disque et pour la presse musicale spécialisée. Il a enseigné dans les Arts Appliqués et Arts Plastique

Thierry Moreau website

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Three questions on "Solitudes Lunaires"

Can you explain this weightlessness journey to us?

A SOURCE OF INSPIRATION AND ESCAPE

Thierry Moreau:
"With your title "Solitudes Lunaires" you pay tribute to Jules Verne, can you explain to us this journey in weightlessness whose substance evokes in many ways the tribute to Franck Herbert "Dune" by Klaus Schulze. Are you inviting us to the lunar introspection?"

Sequentia Legenda:
  "I have a great admiration for Jules Verne and I wanted to pay tribute to him. To me, he is a dream storyteller, an astronomer, a geography teacher, an adventurer. Reading his extraordinary travels, it is a whole dreamlike universe that opens up to me and feeds my imagination with delight. It is a source of inspiration and escape. Solitudes Lunaires is a nod to "Autour de la Lune". When I was ten years old, I wanted to become a writer just like him! My favorites: "From the Earth to the Moon", "Journey to the Center of the Earth" and "Twenty Thousand Leagues Under the Sea".

Here is an excerpt from "Around the Moon": "[...]The projectile must have reached the Moon when it was full, on the 5th at midnight. Here we are on December 11, which is six days ago. However, in six times twenty-four hours, without darkness, we have time to settle comfortably. It seems to me that I see them, our brave compatriots, camped at the bottom of a valley, on the edge of a selenite stream, near the projectile half sunk by its fall in the middle of volcanic debris, Captain Nicholl beginning his levelling operations, President Barbicane cleaning up his travel notes, Michel Ardan embalming the lunar solitudes with the scent of his londrès[...]".

Literature and music have similarities, in particular that of making people travel, making them dream. Jules Verne knew how to make his readers travel with brio, with this composition, it was important for me to transport the listeners to a lunar introspection.

The seraphic choirs, the sparkling sounds, the distant layers contribute to the lunar atmosphere. The rhythmic texture is created by the Minimoog's oscillators pushed into self-oscillation. The whole is amplified with quite long reverberation times and stereophonic echoes. The note loops are like a series of words, telling a story, describing the sound landscape: the seas, valleys, craters, mysteries and the gentle sunlight. Imagination plays a major role in interpretation.
So why not let yourself go and imagine the song of the Selenites accompanying this lunar music? Everyone is free to interpret this musical poem, to experience in their own way the meditative exploration of this selenical world.

For the anecdote, my eldest son, listening to this play, wrote this: "Dad, when I listen to this extract, I feel like I'm alone on the Moon!"

And finally, I would like to say that I am honoured to know that my title in its substance can thus be compared to the album "Dune" by Klaus Schulze."

A SONIC PATTERN IN PERPETUAL MOVEMENT

Thierry Moreau:
"Your work alternates a melodic line and a sequence that guides us on a journey,
do you plan to make a complete album in homage to Jules Verne's universe or to a particular novel?"

Sequentia Legenda:
  "This alternation can be compared to the tides caused by the Moon, it is a sonic pattern in perpetual movement, which comes and goes while amplifying, while subtly metamorphosing. It rock the listener into the sound space.
The sequences, too, are evolutionary, forming combinations, constellations, intertwining and merging in the global atmosphere.

Creating an album in homage to Jules Verne is indeed an interesting idea. To see..."

AN INVITATION TO DREAM, TO TRAVEL, TO MEDITATE

Thierry Moreau: 
"Your impregnation of the Berlin School is obvious and you are immediately identifiable, don't you think that the emotional charge that emerges is partly due to the fact that you like to invite people to travel? In this instance at Jules Verne's here?"

Sequentia Legenda:
  "Apart from the fact that my music is an invitation to dream, to travel, to meditate, I think that listeners perceive through my compositions my sensitivity, my authenticity, my vision of a cleansed Berlin School.

I share my musical language with passion and happiness. To fully enjoy the sound worlds, you have to give yourself time, put yourself in good listening conditions. Thereafter, an association of emotions takes place and the immersion can then be fully experienced."

 

SOLITUDES LUNAIRES [XMas 2018 Version] by Sequentia Legenda

(This track is FREE from December 24, 2018 to January 1, 2019)

 
🎁 Here is a version for Christmas !

The title SOLITUDES LUNAIRES has been revisited and remastered especially for this occasion. The Mellotron choirs have been added. The Minimoog is present for the final.
A cymbal came to support the rhythmic impulses of the oscillators in self-oscillation.
The duration is slightly longer than the original version of the double album "EXTENDED".

Selenic world 0:00 to 10:08
Electric blue glow of Aristarchus 10:08 to 11:44
Mare Tranquillitatis 11:44 to 18:08
The mysterious side of the Moon 18:08 to 22:56
Mare Serenitatis 22:56 to 26:38

Enjoy your gift!

Merry Christmas, everyone!

Thierry Moreau
is a graphic designer, gifted with great sensitivity, a lover of the arts and culture.
An open and generous man ‒ an artist.

He is a graduate of the Beaux Arts. He has worked in creative studios and communications agencies. He has worked for record labels and for the specialized music press.
He has taught in the Applied and Plastic Arts.

Thierry Moreau website

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www.sequentia-legenda.com

13 Questions à Sequentia Legenda en attendant "OVER THERE" (deuxième partie)

Sequentia Legenda interviewé par Bertrand Loreau
(deuxième partie)

PROCURER UNE PART DE RÊVE

Bertrand Loreau :
"Tu revendiques l'influence de Klaus Schulze et manifestement tes œuvres, notamment par leurs structures, rappellent les constructions de ses morceaux. Est-ce que tu crois cependant que ta sensibilité personnelle est suffisamment forte pour que tu ne sois pas vu comme un simple imitateur de l'artiste berlinois."

Sequentia Legenda :
  "Je suis naturellement flatté et fier de pouvoir lire tout ce qu’il se dit sur moi et sur ma musique, toutes les comparaisons avec Klaus Schulze. Et que ne le serait pas ? J’ai cependant, ma personnalité, ma propre vision de la Berlin School et suffisamment de sensibilité pour faire transparaître mes émotions au travers de mes titres. Je crois que si l’on joue la musique qui provient de son cœur et de son âme, les auditeurs percevrons cette musique comme authentique et sincère. Je suis, tout simplement heureux, de pouvoir partager ma propre vision musicale, de procurer une part de rêve, un moment de détente et d’évasion."

LA PÉRIODE OÙ KLAUS UTILISAIT LES SYNTHÉTISEURS ANALOGIQUES

Bertrand Loreau :
"Est-ce que tu apprécies toute la discographie de Schulze
ou évites-tu certaines périodes ?"

Sequentia Legenda :
  "C'est par une après-midi d’été en 1980, j’avais 15 ans et je parcourais la collection des vinyles de mes parents. Parmi toutes les albums, une pochette avec un portrait stylisé en vert et bleu m’intriguait. Après avoir examiné de plus près cette mise en pages originale, je me décidais à mettre le 33 tours sur le tourne-disque. Dès les premières minutes, ce fut un véritable coup de foudre. L’album « Mirage » de Klaus Schulze fut pour moi un véritable déclencheur ! « Mirage » est mon favori, j’apprécie également beaucoup « Moondawn », « Timewind », les deux « Body Love », le double album « X » pour ce qui est de la période analogique. « Dune » est un album à part pour moi avec deux titres très différents et une ambiance très particulière, parfois à la limite de l’oppressant, mais avec un travail de recherche sonore, totalement unique. « Totem » est une œuvre de début de carrière que je trouve intéressante avec les prémices des séquences. Pour la période numérique, c’est « E=Trance » et surtout « Trancefer » qui ont retenu toute mon attention. J’ai ensuite décroché après l’album « The Dresden Performance ». Les titres précédents, « Angst », « Inter*Face » ou « Miditerranean Pads » ne m’avait pas totalement séduit.

Encore aujourd’hui, c’est la période où Klaus utilisait les synthétiseurs analogiques qui me plaît le plus et que je trouve la plus intéressante en terme de créativité. Cela ne veut pas dire que tout ce qui a suivi ne m’a pas plu. J’ai trouvé par exemple « Are You Sequenced? » avec une utilisation des séquenceurs intéressante. Le dernier album de Klaus « Silhouettes » est lui aussi remarquable sur certains points, avec une atmosphère qui me rappelle son début de carrière."

LA RENAISSANCE D’UNE CERTAINE BERLIN SCHOOL

Bertrand Loreau :
"As-tu déjà rencontré des gens qui aiment ta musique
et qui ne sont pas des fans de Klaus Schulze ?"

Sequentia Legenda :
  "Bonne question. Je ne sais pas si tous les fans de Klaus Schulze aime ma musique et vice versa. J’ai eu à quelques reprises des retours de personnes ayant découvertes ma musique et qui ne connaissaient pas vraiment le maître allemand. J’ai trouvé cela intéressant me donnant le bon espoir en la renaissance d’une certaine Berlin School."

CETTE BELLE MOUVANCE MUSICALE

Bertrand Loreau :
"Crois-tu que ton travail peut aider des gens à découvrir les disques de référence de la musique électronique des années 70 ?"

Sequentia Legenda :
  "J'en serais bien évidemment ravi. Si je peux apporter ma pierre à l'édifice de cette belle mouvance musicale alors j'aurai finalement réussi mon pari. C’est un plaisir de pouvoir partager à ma manière la richesse de cette période et de mettre au goût du jour cette atmosphère si particulière."

MON CŒUR A ENCORE SUFFISAMMENT DE CHOSES À OFFRIR

Bertrand Loreau :
  "Comment imagines-tu la musique que tu feras dans 5 ou 10 ans ?"

Sequentia Legenda :
"C'est difficile de répondre à cette question de manière totalement objective. Tant de choses peuvent se passer et donc influencer un tant soit peu ma créativité. Dans 10 ans qui sait si je ferais encore de la musique ? Une chose est certaine, si je devais encore composer d'ici là, alors c'est que mon cœur a encore suffisamment de choses à offrir, à partager. Je ne peux pas concevoir ma musique sans passion, sans âme et sans émotions. Je peux donc imaginer une musique qui soit dans la continuité de celle que je produis actuellement, avec une plus grande maturité certainement et avec plus de maîtrise peut-être."

J'AIME LES CORDES, LES SYMPHONIES, LES CHŒURS

Bertrand Loreau : 
"Écoutes-tu d'autres musiques qui s'appuient sur la répétition, les boucles. Écoutes-tu des musiques acoustiques et orchestrales comme celles de Glass ou bien des musiques traditionnelles ?"

Sequentia Legenda : 
"Pour être totalement transparent, je n'écoute certainement pas assez ce que font les autres, je ne trouve pas suffisamment de temps pour écouter de manière assidue la musique des autres. Un des rares moments où j'écoute de la musique, c’est sur la route entre le travail et la maison et c'est alors bien souvent de la musique classique ou du jazz. J'ai toujours eu un grand respect pour les compositeurs de la Grande Musique, Beethoven, Mozart, Bach, Wagner, Berlioz. J'aime les cordes, les symphonies, les chœurs. Le jazz quant à lui me relaxe. Je n’aime pas l’opéra."

MA SENSIBILITÉ VIENT DE PLUS PROFOND DE MOI

Bertrand Loreau :
  "A propos de ta sensibilité, est-ce que tu peux expliquer d'où elle vient et pourquoi tu ressens le besoin de la partager ?"

Sequentia Legenda :
  "Sacré sujet, vaste thème. Ma sensibilité vient de plus profond de moi, je perçois beaucoup de choses, je ressens les choses avec une grande amplification. C'est parfois même difficile à vivre pour moi et pour les autres. Je suis souvent à fleur de peau et j'ai du mal à cacher mes émotions alors je dois littéralement expulser ce qui me touche par de la peinture, de l'écriture ou de la musique et aussi par le sport. C'est un besoin : partager, communiquer, me libérer. 


Tout récemment, c'est le diagnostic de l’autisme de mon fils cadet qui m'a grandement touché et qui à mes émotions à rudes épreuves. Outre son handicap, Valentin me donne beaucoup d'amour et je suis fier de lui, il m’a ouvert les yeux sur beaucoup de choses. Lui aussi est doué d'une grande sensibilité :-) "

 

Un extrait de ce que sera l'atmosphère de ce projet

 

 

MIND LAKE by Sequentia Legenda (travaux en cours)

Voici un extrait du titre ici encore dans sa version expérimentale. C'est un avant-goût de ma vision musicale pour 2019. Mon travail reste axé sur la symbiose entre les séquences et les nappes. La palette sonore proche de l'ère analogique avec les possibilités des instruments d'aujourd'hui.

Le paysage sonore de ce titre est pour moi proche de mon ambition musicale, de ma vision de la Berlin School d'aujourd'hui et de demain.

UNE FILIATION AVEC LE PIONNIER DE LA BERLIN SCHOOL

"Depuis les années 80 de nombreux artistes ont été attirés par la musique électronique, et les synthétiseurs, après avoir découvert les œuvres de Klaus Schulze. Timewind, Moondawn, Mirage, Dune et dans une moindre mesure Trancefer et Audentity ont fait du compositeur allemand un modèle que beaucoup ont voulu imiter. Schulze a produit ses chef-d’œuvres dans une période qui va de l'avènement de l'analogique au début du digital.

Le compositeur Sequentia Legenda fait partie de cette troisième ou quatrième génération de maîtres des synthétiseurs qui revendiquent une filiation avec le pionnier de la Berlin school. Il produit une musique qui mêle des réminiscences des périodes analogiques et numériques de l'art schulzien, en prenant le risque de systématiser les principes du compositeur de Mirage . On retrouve les séquences qui se lovent sur la face entière d'un immense vinyle, et les transpositions qui retentissent comme des coups de tonnerre pour provoquer le frisson attendu. Mais Sequentia va parfois au-delà de ce que faisait Schulze dans les années 70 comme s'il tentait de dépasser les limites que s'imposait le maître pour ne pas créer de ruptures avec son public. Les accords peuvent être tenus plusieurs minutes et les séquences se construisent et se déconstruisent par éléments séparés au cours de très lents et subtils mixage.

Sequentia Legenda prend le risque de déranger parfois et le risque d'être perçu comme un simple interprète de recettes déjà souvent exploitées dans les musiques cosmiques. Mais il faut le voir autrement. Sequentia Legenda explore les limites de concepts musicaux qui n'avaient peut-être pas tout dit. Son travail sur le son et sa volonté d'hypnotiser, plus que de séduire, font que ses œuvres établissent une passerelle qui n'existait peut-être pas entre la véritable musique de Berlin et la musique ambient. En évitant les solos et les ruptures, sa musique peut être perçue comme l'accompagnement d'un lieu ou d'un espace imaginaire, à la manière de certains travaux de Brian Eno."

Bertrand Loreau

Bertrand Loreau enregistre depuis bientôt 30 ans des albums pour les labels Musea et Spheric Music, il a abordé de nombreux styles allant de la musique mélodique à la musique électroacoustique en passant par la Berlin School

La discographie de Bertrand Loreau chez Patch Work Music

OVER THERE

Sortie prévue pour le 3 mars 2019

Première partie de l'interview

            

www.sequentia-legenda.com

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

Sequentia Legenda interviewed by Bertrand Loreau
(second part)

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."

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."

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.

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 Schulze. Timewind, 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

first part of interview

            

www.sequentia-legenda.com

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

Sequentia Legenda interviewed by Bertrand Loreau
(first part)

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 Schulze. Timewind, 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

RELEASE MY CREATIVE IMPULSES

Bertrand Loreau:
"When you start a project, is it thinking about a particular Klaus album?"

Sequentia Legenda:
  "When I start a musical project, I have a global idea, a common thread that can come from an image, a title, a memory, an emotion or a sound, but it is not necessarily linked to a particular title of Klaus. The beginning of a new opus is an important moment, it is each time unique and particular. It is a new story that is written,
that develops with sensitivity, meticulousness and passion. I always give myself a little
time between two albums, until, when the time comes, I feel a very strong attraction
that will push me back in front of the keyboards and then allow me to release
my creative impulses."

MY ALI BABA'S CAVE

Bertrand Loreau:
  "You use virtual synthesizers but aren't you tempted to work with analogics by privileging spontaneity and improvisation?"

Sequentia Legenda:
"While it is true that I currently only use virtual instruments, I would add that they are hand-picked to correspond precisely to my musical vision. I am very attached to this beautiful analog era of the 70s. In the 80s, I had set up my music studio in my parents' cellar, it was my Ali Baba's cave: PS3200 Korg, Polymoog, Crumar Multiman S, Korg Polyphonic Ensemble PE-1000, ARP Odyssey, Oberheim Two Voice, RE 201 Roland, Korg MS and SQ10. It was then that I initiated myself as an autodidact to subtractive synthesis with great delight.

Today I have a lot of fun with the VST's. The sound is great when you take the time and care to optimize certain parameters. The place for spontaneity is not limited and improvisation can be possible with a little ingenuity. It is not excluded that I may "marry" virtual instruments with "real" synthesizers in the medium term."

 

I HAVE MY OWN VISION OF BERLIN SCHOOL

Bertrand Loreau: 
"You leave a lot of space for sequences in your recordings and you don't try to play solos like the ones Klaus used to do. However, it was thanks to the solos that Klaus relaunched his songs and expressed his particular sensitivity.
You're assuming that choice?"

Sequentia Legenda: 
"Yes, absolutely, I fully accept that choice. I have my own vision of Berlin School: a purified vision. I want to go to the essential and propose sound worlds where the listener can freely discover the sonic pearls that are hidden there. The sequencer remains my favorite tool. I am constantly trying to make the loops evolve between them and literally make the sequencers "sing" throughout my compositions! They are accompanied by tablecloths and choirs and sometimes percussion. Among these elements, there are occasionally a few melodic lines.

Solos are still not my priority. I want to let my compositions "breathe" and preserve enough space for the listener to finally imagine his own worlds and solos. It is through the global atmosphere and all its subtleties that one can perceive all my sensitivity."

THIS BEAUTIFUL MUSICAL MOVEMENT

Bertrand Loreau: 
"Do you think there is a future for the Berlin School and its very long tracks with its very slow developments? Don't you think that it's only the people who have known the golden age of electronic music who continue to listen to this musical genre?"

Sequentia Legenda: 
"Yes, I think that this beautiful musical movement still has a bright future ahead of it and that it will continue to make people dream. The length of the pieces is not a problem in itself as long as the listener is sufficiently interested and willing to take the time to escape and set off on a musical and introspective journey. It's a music that allows you to get out of this tumultuous daily life, where everything has to go fast, too fast! I have a few young people among my fans, some of whom are about ten years old, so yes: I remain confident while keeping my head on my shoulders, because I know that it is a musical niche."

A NICE CHALLENGE

Bertrand Loreau:
  "Do the pieces you make have to be long. Is length necessary to install a climate or an emotion? Isn't length also a facility? Tangerine Dream had said well by making "Sorcerer", that to make short pieces was a new and difficult exercise which had taught them much."

Sequentia Legenda:
  "There is no obligation, it's just a matter of course for me to compose like that. Personally, I believe that it takes a certain amount of time for the listener to escape and immerse himself totally in the sound worlds I propose and forget everything around him. About twenty minutes is a duration that seems appropriate to me to live this kind of musical journey in an optimal way. It is essential for me that the listener can gradually immerse himself in order to be able to take full advantage of the sound discovery that is offered to him. I don't know if it's a facility, I just think it's normal for me to compose in this way, I'm not to calculate with time, I let my emotions, my sensitivity express itself and let myself be guided according to the creative phase. I can turn this question around and say that keeping the listener to keep in suspense for a while is also a nice challenge."

 

PLAYING THE MUSIC THAT COMES FROM MY HEART

Bertrand Loreau:
  "Your albums are selling pretty well. Does that encourage you to keep producing the same kind of music? Are you influenced by this success or do you produce your music only according to your current desires?"

Sequentia Legenda:
  "By exposing my work just five years ago, I was looking to a certain extent and in all humility to make myself known. If today, some people see me as an influential musician from the Berlin School, then it's wonderful. But I have never speculated on any financial manna. I am naturally delighted to be able to sell my albums, but here too, I keep my head on my shoulders. I have a family, a job and I am aware that it is now perfectly utopian to think about living off his music, knowing that my musical style cannot compete with this mass commercial music. On the other hand, I am proud to be able to stand out, to share my passion with informed listeners and to please myself by playing the music that comes from my heart. My creativity is not really influenced by this success, it remains free. A creative freedom that remains in line with my musical vision. I don't think I can play any other music. I don't really have any big rules, but one constant: to please myself first and foremost and for as long as possible."

 

 

An extract of what will be the atmosphere of this project

 

 

The first six minutes of FLOATING TIME (work in progress).

Here is an extract of the second track of the future album OVER THERE. It is a composition in the purest tradition of the Berlin School of the mid-1970s. Today's synthesizers deliver analog grain tones.

In the distant fog and breaking waves, the ringing of a bell can be heard. A craft floating on an unknown sea advances slowly, then it is a progressive flight towards the heavens. In this mystical atmosphere, it is the rumbling from the sky and the depths of the sea that mixes with floating sequences and whirling sounds...

For this title and for this future album, the choirs of the Mellotron and the strings of the Solina come to be added to the other mythical instruments such as the Modular Moog, the Minimoog or other Jupiter 8.

For this title, the German drummer Tommy Betzler (who worked with Klaus Schulze in the 80s) will join me. 

OVER THERE

Official release planned for March 3, 2019

            

www.sequentia-legenda.com