Nathalie Manser In the mythical recording hall of the Mountain Studios. Recording of the CD "Les Anges" (Summer 2000)

I love the specific sounds and the instruments of so-called primitive cultures. They know how to express what is deep in their soul, without cheating, spontaneously and how to reach the heart, and the essential part of the human nature.

Apart from the vibrations, the sounds and the spiritual approach they have in their music, they are very touching and I feel deeply moved when listening to them. One can feel like penetrating another world, as if we would face our innermost self, openly and without cheating.

Furthermore one can find in their sounds a sensuality so close to the sound and the cord of the cello and very near to the human voice.

Sitting at the pre-production of the CD "Les Anges" (Summer 2000)

The first time I was asked to compose a piece of music was at school, the year I would graduate. I was attending the courses of a college where creativity was part of the tuition and this job was to be part of an exam I was to pass.

I was just 17 years old and I felt very distressed at the idea that I was to compose a piece of music mingling several instruments. Of course, we had been taught at school some basics of harmony in our theoretical courses, but I was scared of having to produce one piece of music by my own.

As I failed to get inspired, I collected an old piece of music for cello that I had been studying a few years before and copied it as it was, even signing the document ! However, I had made sure before handing it over to my teachers, within the required time, that the composer of this piece of art was not known. Actually he was unknown !

Then I handed over my home work to my teachers and found it very ugly when I had to play it in front of my college comrades. However, I got a good mark for this testing just the same !

A few years later, as I was attending counterpoint theory classes at the Conservatoire, I was taught how to compose melodies with the same rules and regulations as were applied in the classical period and I started to enjoy practicing, especially as I found this easy to do. My teacher would always play the exercises I had produced in front of the class as they were good examples. This helped me to get confidence and to start later my own productions.

Today I compose at any time, but I mostly get inspiration when I do not look for it, whilst reading a book, driving or as I awake in the morning. It comes to me as a flash and I have to transcribe it on paper immediately or else I forget everything as fast as it came into my mind. Because of this, I must have the cello, or a piano or else a recording instrument at hand.

However, when I am under pressure or just before concerts, for instance, I cannot get inspiration and do not hear melodies in my mind.

Inspiration comes to me by periods.

David Richards and his famous recording table "Neve" in the Mountain Studios (Summer 2000)

I never expected that this could happen one day … never - but one should never use the word "never".

David heard the first trials of my music through the intermediary of a common friend of ours and 2 days later we met at a dinner party.

I immediately fell in love artistically with him: I was moved by his way of being modest, human and sensitive. I had in front of me someone completely true, honest, authentic, so different from people in the show business. I was very much impressed by his candid nature and deeply moved within.

Apart from composing together several pieces, David has been a real teacher to me. He put me in such a state of confidence that I started to dare improvising, something which I had completely ignored whilst interpreting classical music. I would start being spontaneous and playing as I felt it at the moment and added to my music that little sprinkle of magic. This was not an easy task at first but it resulted into a fruitful experience which opened my mind… to improvise opening the door to magic worlds that one can perceive in the messages of so-called primitive cultures.

Today I feel much more comfortable and freer in the world of global music than I was in the classical music repertory, although I have not completely abandoned it. It is always better to be polyvalent…

31^st of December 2000 at midnight : David Richards having fun and yet mixing "Les Anges" !

31^st of December 2000 at 2 hrs am : Recording of the "Arpeggione" and mad moments during the extremely difficult passages!  Let's keep up with it !

With the producer David Richards (spring 2003) / © Studio Bôregard St Légier