In actuality you and @goodnews are both wrong. Though you were much closer to it when your thinking was Nosferatu.
In actuality you and @goodnews are both wrong. Though you were much closer to it when your thinking was Nosferatu.
Excellent article from Michael Berkeley. He helped her with this particular part of the song.
“ Still not having been able to identify the music of the title sequence of Nosferatu or even the language it was sung in, she suggested that, if necessary, I write something similar but added that while the key of this chorus would need to relate, it could arrive as something foreign, harmonically a surprise, as though from another world. In other words, while it had to fit, Kate wanted it to sound "collaged". This superimposition of foreign sources is a technique pioneered by visionary composers like Ives and Stockhausen. I soon realised that Bush was pretty exacting on the precise fit of the "non-fit". Indeed, she was thrilled when I suggested we create our own new language for this chorus of the spheres.”
I'm wrong. the gregorian chant is actually a piece called Tsintskaro. there's various spellings of it.
It's not Gregorian chant -- it's actually Georgian vocal polyphony. Beautiful in any case.
It's not Gregorian chant -- it's actually Georgian vocal polyphony. Beautiful in any case.
In actuality you and @goodnews are both wrong. Though you were much closer to it when your thinking was Nosferatu.
In actuality you and @goodnews are both wrong. Though you were much closer to it when your thinking was Nosferatu.
Excellent article from Michael Berkeley: theguardian.com/music/2005/oct/11/popandrock
Excellent article from Michael Berkeley: theguardian.com/music/2005/oct/11/popandrock
In actuality you and @goodnews are both wrong. Though you were much closer to it when your thinking was Nosferatu.
In actuality you and @goodnews are both wrong. Though you were much closer to it when your thinking was Nosferatu.
Excellent article from Michael Berkeley. He helped her with this particular part of the song. “ Still not having been able to identify the music of the title sequence of Nosferatu or even the language it was sung in, she suggested that, if necessary, I write something similar but added that while the key of this chorus would need to relate, it could arrive as something foreign, harmonically a surprise, as though from another world. In other words, while it had to fit, Kate wanted it to sound "collaged". This superimposition of foreign sources is a technique pioneered by visionary composers like Ives and Stockhausen. I soon realised that Bush was pretty exacting on the precise fit of the "non-fit". Indeed, she was thrilled when I suggested we create our own new language for this chorus of the spheres.”
theguardian.com/music/2005/oct/11/popandrock