Tiny Nutmeg & Ginger Q&A by Flip Feij
Tiny Nutmeg & Ginger Q&A
Flip Feij - Vlissingen, The Netherlands
FF: How do you make preparations for your collaboration with The Musicians
Of The Globe, or is it merely: "I see you in Antwerp?"
RT: I've spent a long time with the songs and tunes, getting familiar with
the material, and trying to find a way to communicate the ideas in the
songs. Actual rehearsal together will be short - just 2 days, before we head
for the Continent.
FF: The announcement of the series says you'll be practising voice and
Renaissance guitar. Will that be "singing" voice? Any chance of devices from
mrs Ferrington's or Fender's stable to pop up on stage?
RT: I am the designated singer for the evening. Phil thought a more 'folk'
voice would be appropriate. Usually this material is sung by classically
trained singers, which to my ears can sound too stilted.
I will be playing a
reproduction Elizabethan guitar - 8 strings on four courses, tuned like the
top four strings on the guitar. All instruments will be period (or
FF: Huge part of "Nutmeg & Ginger" will be performed in the Old Lowlands.
What's the reason for that and is there a chance of redo's in other sections
of the globe? (apart from Chelsea)
RT: We didn't have a big window of time. The plan was to pick this up again
at a later date.
FF: When was the last time you have worked under someone else's musical
direction? How was that? What do you value most in Phil Pickett's
capacities as a musical director?
RT: I'm always in the studio working on other people's projects, and with
soundtrack work you are always under the director. You could say Cabaret Of
Souls, although it's my music, is under the direction of the conductor. Phil
has more knowledge of period British music than anyone else I know. He is
also broad-minded - hence projects like Bones Of All Men (we were hoping to
do that at the recent Meltdown Festival, but Phil got sick).
FF: What will be next, Xenakis?
RT: That could be going too far.