Cavalcanti
An old family name related to the love of horses. I used a triplet
figure as it gathers pace which, when played, actually looks like a
galloping horse. Martin Carthy was the first person who showed me this
on guitar using the thumb, forefinger and second finger. I had to
practice this movement a lot to get it right, but it still reminds me
of a galloping horse every time.
The Sleeping
Sea
A descending sequence, one of my favorites on the album, using
"Moorish" harmonies. Slightly dissonant, but necessary to lead you to a
very murky place. I imagined predators in their element at the bottom
of the sea at night. After I'd heard Debussy's The Sunken Cathedral I
decided to end with the sound of a bell intoning.
Portrait of a
Brazilian Lady
Very Brazilian harmonies here, very unhurried. A portrait of Kim's
grandmother hangs in the house at Petropolis - sometimes it seems to be
sad, but when you look at it from a distance for a while the mouth
seems to dart into a smile. A capricious free spirit - Vov:ó
Nina!
When the Bell
Breaks
A tremolo piece similar to many guitar studies where the top line is
played with three fingers and the bass notes with the thumb. A flamenco
technique that gives the impression of two guitars playing instead of
one - again a very "watery" effect - or the guitar doing an impression
of a mandolin.
A Bed, a
Chair and a Guitar
When I was growing up Dad thought that I would be happy if all I had in
life was a bed, a chair and a guitar. I've got a bit more furniture
now, Dad, and a few more guitars - but he'd sussed my teenage
priorities! There's a traditional piece I first heard played by Bert
Jansch called Nicola which starts off this little trilogy in classical
style, then folk and finally jazz.
Concert for
Munich
This one's dedicated to Tony Stratton-Smith who originally commissioned
it for a film about the Manchester United football team who fought
their way back to the top against all expectations. Tony was a man
governed by his passions, but was able to inspire many musicians during
his lifetime - a true patron of the arts. It would take a book to cover
all his activities as author, journalist, record company boss and
friend. God bless you, Tony!
Last Rites of
Innocence
There's a logic to baroque music that makes it stick very closely to
form, almost like an unbroken dance - that's the main influence here. I
tried also to highlight the degree of independent bass lines possible
whilst playing the top strings, much the same as with a string trio or
quartet.
Troubled
Spirit
The full message was "troubled spirit, there are many victories ahead".
I "heard" a spirit message which helped me through one of my darkest
moments. Musically, it starts in turmoil, then is transformed into pure
joy at the personal realisation that we exist only by the grace of
something approaching Divine Will. I've never been truly depressed
since.
Variation on
a Theme by Chopin
Sometimes I try to play the guitar in a pianistic style and it's Chopin
I think of when the piano is used at its best - underplayed, gentle and
melancholic.
Pierrot
This was the first thing recorded for this album. I imagined the
single-teared clown as a doll… a child believing her doll could dance.
Momentum
This was the last thing written for the record on its original release
- Spanish influence all the way.
Bourée
This fabulous piece shows why Bach is still an unbeatable bass player
and the most fluent of all chordsmiths.
An Open Window
This was written just a little too late to be included on Momentum at
the time of its first release, but I'm glad it can join the rest now -
a latecomer, but well worth the wait. I didn't set out to write such a
long piece, I just found that there was a lot to say with a piece that
kept demanding a change of pace.
The Vigil
This is very much in a Venetian style and for me conjures the warmth of
candlelight (dedicated to Louise Wheeler).
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