Peter Broderick Interview
In the ongoing project to transfer all the content from the old website (www.myspace.com/theundergroundofhappiness) over here, here's the Peter Broderick interview from May 2009, which we recorded before he played at Crane Lane Theatre in Cork that night.
...in which Peter talks about some of his musical influences, including Arvo Part and Max Richter, how he hooked up with Efterklang and Bella Union and about his hometown of Portland, Oregon.
Here's one of the best songs from the then current album Home (Bella Union), which Peter played that night -
(I love that, "music and acted by Peter Broderick"!)
After the interview, as we came back into the venue, Peter grabbed a CD from the merchandise stand and handed it to me. "I'd be interested to know what you think of this," he said. It was called Music for Falling from Trees, a soundtrack to a dance piece which Peter was commissioned to write by Adrienne Hart of the Erased Tapes label. As I found out later, the seven instrumental pieces consist of piano and strings only and are stunningly beautiful. Here's a flavour.
Last year, Erased Tapes re-issued the album, compiled with another dance soundtrack of Peter's, Congregation. Here's what I thought of that at the time.
Peter Broderick - Music for Contemporary Dance (Erased Tapes)
Compilation of two dance soundtrack commissions (2009's Falling from trees and 2010's Congregation). Music for falling from trees had already found much love here in the UOH cabin since first heard last year. Although Music for Congregation (a ballet designed, choreographed and composed for pedestrian performers) contains only four tracks (about 24 minutes in total), it's possibly even more beautiful. Minimal percussive samples, swooning strings and drops of glockenspiel on Discovery create a hazy bed which the word gorgeous doesn't do justice to. Understanding begins with a bass throb, before breezy accordion and lurching cello slides add character, with a trademark stoic piano making its first appearance. Together, the arrangements are so big it sounds like the London Philharmonic is involved, but I'm assuming Mr Broderick was responsible for every note and beat himself as usual. It's a fantastic collection and worth going out of your way for.
In fact - and if you've seen Peter Broderick live, you'll no doubt agree - it's worth going out of your way for pretty much anything this man turns his hand to.
...in which Peter talks about some of his musical influences, including Arvo Part and Max Richter, how he hooked up with Efterklang and Bella Union and about his hometown of Portland, Oregon.
Here's one of the best songs from the then current album Home (Bella Union), which Peter played that night -
(I love that, "music and acted by Peter Broderick"!)
After the interview, as we came back into the venue, Peter grabbed a CD from the merchandise stand and handed it to me. "I'd be interested to know what you think of this," he said. It was called Music for Falling from Trees, a soundtrack to a dance piece which Peter was commissioned to write by Adrienne Hart of the Erased Tapes label. As I found out later, the seven instrumental pieces consist of piano and strings only and are stunningly beautiful. Here's a flavour.
Falling From Trees 2010 from Neon Productions on Vimeo.
Last year, Erased Tapes re-issued the album, compiled with another dance soundtrack of Peter's, Congregation. Here's what I thought of that at the time.
Peter Broderick - Music for Contemporary Dance (Erased Tapes)
Compilation of two dance soundtrack commissions (2009's Falling from trees and 2010's Congregation). Music for falling from trees had already found much love here in the UOH cabin since first heard last year. Although Music for Congregation (a ballet designed, choreographed and composed for pedestrian performers) contains only four tracks (about 24 minutes in total), it's possibly even more beautiful. Minimal percussive samples, swooning strings and drops of glockenspiel on Discovery create a hazy bed which the word gorgeous doesn't do justice to. Understanding begins with a bass throb, before breezy accordion and lurching cello slides add character, with a trademark stoic piano making its first appearance. Together, the arrangements are so big it sounds like the London Philharmonic is involved, but I'm assuming Mr Broderick was responsible for every note and beat himself as usual. It's a fantastic collection and worth going out of your way for.
In fact - and if you've seen Peter Broderick live, you'll no doubt agree - it's worth going out of your way for pretty much anything this man turns his hand to.
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