Lubomyr Melnyk. 12K likes. ‘Where were you guys when I was thirty?’ Official Page for the pioneer of Continuous Piano Music Lubomyr Melnyk will release an album for the celebrated ambient label Fallen Trees is Melnyk’s third album for the label, which brought his. Lubomyr Melnyk: An agonising journey. Lubomyr Melnyk is the world’s fastest.
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On his latest release “Corrolaries” Erased Tapes it seems as though, after 40 years of practice, he has mastered the alchemic art of transforming sound into metaphysical experience. When did you start composing – and what or who were your early passions and influences?
I started composing as a child with my earliest influences being the music of Beethoven and Brahms. As I got older, things changed and now the list of influences would be enormous, perhaps even impossible to compile as I consider my work to be so completely unique that there are no influences.
I think every composer is moved by the music of other people, so maybe a better way to say this would be that I consider the influences I have to be peripheral or anything that works on my soul and vision of existence.
Some of these have been physical influences, such as dancers, and others have fallen into the metaphysical realm such as certain writings. That which influences me will influence my music. Working with Carolyn Carson at the Paris Opera in the early s lubojyr with the extreme hunger and poverty I experienced at that time, brought about pivotal changes for me. Those key elements of truly libomyr hunger and having absolutely no money, but continuing to work with music, allowed me to discover the universe of the piano.
Another incisive moment would be during the s when Luboymr Music first emerged. That opened up a whole new musical language for me. A lubkmyr I thought was very beautiful and truly meaningful in a multidimensional way.
Lubomyr Melnyk Pianist/Composer – Home Page
However, there are two challenges I would like to overcome. This would involve a sound system where the piano would be broadcast around the audience using very fast moving speakers that would whirl around them at high speed, surrounding them completely like an ocean of sound. The Continuous Music piano technique is a transcendental technique where the mind actually moves in space, so this idea would allow the audience the next level of experiencing my music and it would become trans-dimensional.
The other challenge is to try and actually have people respond powerfully enough when hearing Continuous Music, that they actually want to play it for themselves. To be able to take this enormous instrument, attach it to the end of your hands and play with it is just one of the greatest things on the face of this earth. I rarely start with a preconceived notion. That only occurs when someone requests something specific, like a poem set to music or something like that.
Usually I just start with a very small seed of an idea.
Then it may sit for several weeks and start to become a little piece or a miniature. Sometimes it grows into a very big piece over the period of a year or two because it keeps opening up like a road you have not travelled upon before. Pieces like these are not just musical they are also emotional.
Trying to write pieces that can recreate the timbre of the piano it was composed on is a dream I had to let go of. Recently I found that the pianos that have the most mystical and magnificent timbre are upright pianos.
They are so cloudy and enormous in their sound. You can just hit one note and BANG! The problem is that you can sit down at this piano and create something that is an experience of indescribable beauty because of the sound that that piano makes, but if you take those same notes and go to another piano, it can sound very humdrum.
For this reason I gave up long ago trying to associate composition with the timbre of an instrument. Classical music will sound pretty righteous when played on any piano because of the relationship between all the notes, whereas with Continuous Music it varies a great deal.
At one piano you will experience unbelievable, soul destroying beauty with all of the wonderful harmonics and resonances that happen within the instrument but then at another piano the mslnyk can be dull depending on how that piano responds to those same notes.
The differences between pianos are enormous. In our modern world one of the true terrors of our existence is that pianos are being destroyed and thrown away. Between the years andthe perfectionism associated lubo,yr manufacturing pianos was almost approaching the ideal of the Samurai sword.
No one would dream of throwing away an original Samurai sword mainly because they are worth millions of dollars, unlike old pianos. But like these old swords, pianos of this era, are amongst the highest achievements of human beings.
These days people are just too busy with their noses stuck in an iPad to realise the level of human achievement that is all around them so throwing these pianos away is just murder.
A piano should be revered as a glorious thing. To be able to play the piano really well, and I mean really well, is an unbelievable achievement. Still, people think nothing of it. What do improvisation and composition mean to you and what, to you, are their respective merits? In Continuous Music improvisation is very necessary. To be a great pianist you have to be able to improvise because you have to be able to touch the piano. Improvisation allows the emotional side of lubojyr to come into play at any given moment and form the music for you.
This is different from the written aspect, which contains the emotions of the time it was written. Improvisation is a vague concept that encompasses way too much to apply to my work. Strictly speaking, I seldom improvise in concert or for myself. I usually work on a specific musical concept.
When the element of improvisation came into our western tradition, I guess around the time of Mozart and especially Beethoven, it was expected that the musician lived within the music so much that they were able to play variations right on the spot.
I want the track! I want to see more horses running free because as a musician you always want to add something new. It also allows you to create a space with certain harmonies and rhythms.
Fifteen Questions with Lubomyr Melnyk Musical, mystical and multidimensional.
What are currently your main compositional challenges? What do you usually start with when composing? How do you see the relationship between timbre and composition? My world needs both. Neither one is satisfactory on its own. Where the sound can live.
I gave up long ago trying to associate composition with the timbre of an instrument.