Doylestown Intelligencer, April 11, 1993: Difference between revisions
(start page) |
(formatting) |
||
Line 19: | Line 19: | ||
"I'm open to a lot of different collaborations and drawing in sounds from outside of rock 'n' roll or pop," a fit and happy-looking Costello says while nestling into a hotel room sofa on a recent overcast New York day. | "I'm open to a lot of different collaborations and drawing in sounds from outside of rock 'n' roll or pop," a fit and happy-looking Costello says while nestling into a hotel room sofa on a recent overcast New York day. | ||
"I think you have to break down the fear," he says. "The boundary between pop and classical is the one boundary people seem really scared of. 'The Juliet Letters' is just like saying there is no boundary. It's just music. And the sound does work, I think." | "I think you have to break down the fear," he says. "The boundary between pop and classical is the one boundary people seem really scared of. ''The Juliet Letters'' is just like saying there is no boundary. It's just music. And the sound does work, I think." | ||
But others from both sides of the musical fence are bound to disagree. ''The Juliet Letters'' could cost Costello — and the Brodsky Quartet — some fans | But others from both sides of the musical fence are bound to disagree. ''The Juliet Letters'' could cost Costello — and the Brodsky Quartet — some fans | ||
Line 31: | Line 31: | ||
"Just relax," the musician says. 'We're the professionals. We know what we're doing." | "Just relax," the musician says. 'We're the professionals. We know what we're doing." | ||
Costello, who will perform | Costello, who will perform ''The Juliet Letters'' with the Brodsky Quartet at Symphony Hall on St. Patrick's Day, is a musical omnivore who spends a good deal of time in concert halls. He became a fan of the Brodskys after hearing them perform several Shostakovich quartets. Then he discovered the quartet's members where fans of his. | ||
"We met in a coffee bar and spent the whole afternoon talking away about music," Costello recalls. "Then we got together with our instruments and just threw ideas back and forth, like in a workshop." | "We met in a coffee bar and spent the whole afternoon talking away about music," Costello recalls. "Then we got together with our instruments and just threw ideas back and forth, like in a workshop." | ||
Line 44: | Line 44: | ||
The four Brodskys, plus Thomas' wife Marina, share credits with Costello for the words of nine of the 17 songs (plus three instrumentals) on ''The Juliet Letters.'' | The four Brodskys, plus Thomas' wife Marina, share credits with Costello for the words of nine of the 17 songs (plus three instrumentals) on ''The Juliet Letters.'' | ||
"What we wanted," Costello explains, "was to get that curious way that people write letters and change gears. The way a letter can start off 'Dear So and So, how are you doing, it's great here' and then, | "What we wanted," Costello explains, "was to get that curious way that people write letters and change gears. The way a letter can start off 'Dear So and So, how are you doing, it's great here' and then, 'to tell the truth, actually things aren't so hot and I'm going to kill myself.' People do that in letters. But it's hard to imitate. But by me being editor and juxtaposing and substituting things, we were able to achieve that." | ||
While the form and expression of ''The Juliet Letters'' will be new to Costello fans, his voice, sometimes snarling, sometimes sweet, will be familiar. And it's more impressive than ever heard in this spare setting. | While the form and expression of ''The Juliet Letters'' will be new to Costello fans, his voice, sometimes snarling, sometimes sweet, will be familiar. And it's more impressive than ever heard in this spare setting. |
Latest revision as of 06:08, 5 March 2021
|