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Listen
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to: Listen
to: Listen
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-What was it like working with untrained (musically speaking) child musicians? Our friend, the ethnologist Corpataux, gave us a good method. We did not try to "correct" any "mistakes" from the children but adapted ourselves to their creativity. Some of them were really incredible singers while others sang a little out of tune ... We wanted to hear real children, not little machines. How did you approach the naive/innocent viewpoints and sounds of the children as compared the more worldly adult professional musicians? Did the children end up having more of an influence on the adults, or was it the other way around? I think the children were the kings of this record, every moment. They had a lot of fun, and we did too. What countries were the children from? We had minorities from China (Miao, Gelao) England, India, France, Algeria, Spain, Gabon (nephews of Akendengué), Senegal, etc... But the majority were Bulgarians (they learned very quickly to sing in any language, including the imaginary ones). Why did you decide to use the Bulgarian orchestra and choir? I am a fan of Bulgarian musicians. I go to Bulgaria twice a year and my wife is Bulgarian. I love the musicality and enthusiasm of these musicians, which is more difficult to find in our "blasé" countries. With all the different cultures represented, why were made-up languages used at times? Because the aim was not to represent any culture in particular but the "children's" culture. Children all over the world invent little secret languages of their own. I love imaginary languages because they fly away from the triviality of the immediate sense. Hear my record "Spondo" (my group with Ivan Lantos, Paddy Bush, & Valérie Joly) released by Melodie, and read "The Empire Of Signs" by Roland Barthes. Ideally, what personal message would you like "Songs Of Innocence" to relate to the listener? Of course, that children
are the salt of the earth! Every child is enthusiastic and sings a lot.
Only 1% of the adults manage to keep this way of being. Why?
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