|
|
After a
long discussion with the author of this article, we agreed with the writer,
Mr Matthew Rowe, that further revisions were required to clarify the
exciting ideas and thoughts contained therein. What follows, alas, is all we
dare print for now...
The World Minimal Music Festival, Amsterdam,
Holland, 2009
Minimalism may be classical music’s close cousin but it’s also the genesis
of much of the pop music I like. Although the obvious pop/minimalism
crossovers such as Tubular Bells, or even Oxygene, leave me unimpressed,
when time and mood permits I dip my toe into the odd minimalist classical
piece – a Philip Glass opera here, a John Adams concerto there, a Brian Eno
soundscape almost everywhere. Which is why I am collecting my passpartout
at Amsterdam’s Muziekgebouw - a beautiful wood, glass and concrete building,
a fine example of the ‘international culture’ style of which the Royal
Festival hall is the softer ur-example. What I like in minimalism is
precisely those features which I love in pop, the use of incessant and
inventive rhythms, the hook of a strong riff, especially one that hints at
emotional intensity. As in pop, ultimately the melody is only as
important as the beat, living or dying as a function of the rhythms that
moves the song along.
Matthew Rowe
|
|