There is the manifestation, then the writing of a composition (to communicate with other musicians), and most important of all, its interpretation. In both cases, for me, it is always a question of improvisation.

Open-minded music for Open-minded people.

Why "World Music"?

In the jungle of commercial-style classifications, as on MySpace or other internet portals there isn't any label (open-minded music) yet, I have to use the catch-all wording of "World Music". As my music "blends" influences from all over the world, so be it; whatever, I'll always be French. When I started playing music, and later the viola da gamba, I never wondered about musical style, which brought me some problems with various "police", the "jazz police", the "baroque police", the "art producer police" ("this music is too good for that film") ... are there also "World music police"?

Meeting with older "masters" did help me a lot on my way. Martial Solal in 1979: "You can do what you want but should be able to explain it". Constantly unsatisfied, I never felt at ease in a style, and always went too far for my colleagues. Someday someone offered me a book by A.K. Coomaraswamy: "The Transformation of Nature in Art", in which he explains traditional art, and the idea that Style is the man, and by no means the essence of art.

Another "master", Dr. M. Bernhard, professor at the Music Institute of the Bavarian Academy of Sciences (sounds good ay!),opened the doors of his library to me. So I studied European medieval music treaties and naturally Gregorian music. I discovered real treasures. References always go back to Plato. But as information here was relatively vague, I continued by searching in Arabic and Indian music.

Traditional bases of music theory are almost the same everywhere on this planet. Learning through books, is fine, but I consider it not enough, and the theory must be experienced through actual traditional practice, when possible. So I experienced with mostly oriental musicians (Arab, Turkish, Indian), as the practice of modal improvisation is more than rare in the West.

So I have been able to revitalize all these modes, which have been known as "church modes" ever since good old Gregory.

The discovery of the viola da gamba in 1993 for a film score did change my music a lot. For about 15 years I stopped working with chords and did only melodies, but as I still liked ensemble music I composed pieces using parallel melodies, like in "The City". Meeting modern hurdy-gurdy player Valentin Clastrier has been crucial, as he advised me to use electronics with the viola da gamba. Here I found a link to my past with electric guitar, where I used all well-known effects like echo, reverb, wah-wah, flanger etc., plus the synthesizer and sampler worlds. In my career during some studio recordings, I happened to have to replay a bass line, then a keyboard and even percussion part, realizing at the end, apart from the vocals and possibly drums, I had played everything. Little Mike Oldfield from Nancy was born.

I always use a special concept for a composition, as in film music. I have about 3 hours of compositions waiting for recording (Dragon, Tortue, Libellule, Papillon, Funambule...), the titles say it all.

In this recording I chose the most accessible compositions, leaving too complex rhythms (9, 6, 5, 11 and 13, in the relevant order), and used almost everything I had at my disposal (Ableton Live software), a lot of vocoder. As I don't have a midi viol, I "had to" put the sound of the viol through the filter of a synthesizer or sampler. And then even a wah-wah effect. "Why not?" said Frank.

Not being subjected to time constraints as support for images, the compositions did not have to be formatted in an acceptable way for the masses; each musical idea implies its own development, and so the pieces are relatively long, sort of "symphonic poems".

The interpretation is another "paire de manches" (a whole different ball game). Find the musicians who can, who will, who dare, and who stay, most importantly of all modal improvisers. And keep it going. This recording reflects my ideal ensemble, and I hope to reproduce it live as soon as possible.

1. The City Labyrinth
2. The City Cardo
3. The City Decumanus
4. The City Temple
5. The City Garden
6. La Bossa De La Inca
7. Con Ota Man in a Cage
8. Con Ota
9. Viole a Voile

Listen to: the entire album.

Release date: 02/27/2015
Gilles Zimmermann lives in Egling an der Paar Germany

Tagged as: World, Classical, Renaissance, Viola da Gamba

1. Music of Fernando Sor by Daniel Estrem: colorful classical guitar
2. The Siena Manuscript on steel string guitar by Paul Berget: renaissance lute, modernized.
3. Lenten is come by Briddes Roune: 13th century medieval English songs
4. Le 9 sonate per violoncello solo e continuo by Vito Paternoster: cellist extraordinaire
5. Ciaconna by Ernst Stolz: Renaissance and Baroque beautiful music revealed by Dutch gambist and multi-instrumentalist
6. Deux Grands Maitres de l'Ecriture pour le Luth Baroque et le Theorbe by Mauricio Buraglia: a marvelous classical spiral of lute sounds
7. German Viola da Gamba Sonatas by Ernst Stolz: Renaissance and Baroque beautiful music revealed by Dutch gambist and multi-instrumentalist
8. Canto y Danza by Chambure Vihuela Quartet: Dance music and songs of Renaissance Spain
9. Dayazell by Dayazell: ancient and traditional world music
10. Canarios II by Poeticall Musicke: Late Renaissance and Early Baroque music, historically performed
11. JS Bach on Solo Mandola Volume 2 by Daniel Estrem: colorful classical guitar
12. Alma de Cuerda (Soul of String) by La Reverie: Recreating traditional music from a modern perspective
13. JS Bach on Solo Mandola by Daniel Estrem: colorful classical guitar
14. Cifras Selectas de Guitarra, Santiago de Murcia 1722 by Eduardo Figueroa and Oscar Ohlsen: Chilean baroque guitar duo
15. Adam Falckenhagen and Sylvius Leopold Weiss, Opere Per Liuto by Paul Beier: solo lute of the Italian renaissance.
16. Awake My Lyre by Poeticall Musicke: Late Renaissance and Early Baroque music, historically performed
17. JS Bach on 8 string guitar, vol 1 by Daniel Estrem: colorful classical guitar
18. Classical Ukulele Volume 2 by Daniel Estrem: colorful classical guitar
19. The Four Seasons - Vivaldi on Guitar and Ukulele by Daniel Estrem: colorful classical guitar
20. Vivaldi Concertos on 8-string guitar by Daniel Estrem: colorful classical guitar

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