Radiohead's Jonny Greenwood: Unlocking Creative Freedom
Imagine a renowned musician, eager to connect, unexpectedly appearing amidst the bustling city. That's Jonny Greenwood, Radiohead's guitarist, who, despite a pub rendezvous, opts for a quiet café. The reason? To discuss his latest masterpiece, a vast orchestral score, which the Hallé Orchestra will premiere this month.
The score, now titled Violin Concerto, began as Horror vacui at the 2019 Proms. Greenwood's composition for a solo violin and 68 string players, each with their own staves, creates dense pitch clusters, paying homage to avant-garde composer Krzysztof Penderecki.
But here's where it gets personal: Greenwood, reflecting on the 2019 performance, felt it was more of a workshop due to time constraints. So, he embarked on a year-long rewrite, a testament to his dedication.
The score reveals three intriguing aspects. Firstly, Greenwood employs a classic 'note row' technique, pioneered by Arnold Schoenberg, where all 12 semitones are repeated in various orders. Secondly, he instructs the conductor to move the baton horizontally, activating individual musicians, adding flexibility and musicality. And thirdly, he composed with the names of all 68 players in front of him, emphasizing their individuality and his inspiration from orchestral musicians.
Greenwood's musical journey began in his teenage years, playing in the Thames Vale Youth Orchestra and studying music at Abingdon School. His time at Oxford Poly was brief, as Radiohead's success with EMI led to a musical exploration of pop and classical influences that continues to this day.
He reflects on his early Radiohead days, working with string players and gaining valuable experience. Greenwood's influences range from the apocalyptic scores of Penderecki to the complex modes of Olivier Messiaen, with a particular fondness for 20th-century French music, especially Henri Dutilleux's string compositions.
Greenwood's creative dilemma? He feels trapped in pop song thinking, struggling to expand ideas beyond three to four minutes. But he navigates this challenge, drawing inspiration from David Bowie's advice to venture out of one's depth and Clint Eastwood's caution about knowing one's limitations.
Film scores, especially for Paul Thomas Anderson's psychological dramas, have been a significant outlet for Greenwood's orchestral creativity. He enjoys the initial collaboration with directors, discussing themes and musical styles, but laments the eventual solidification of the creative process.
Greenwood's thoughts on artistic inspiration are thought-provoking. He shares a teacher's wisdom: stealing ideas from one or two people is plagiarism, but from three or more is inspiration. A controversial interpretation or a creative truth?
The recent Radiohead tour, after a seven-year hiatus, was a surprise success, but it lacked new music. Greenwood, with strong ties to Israel, faced controversy over a 2017 Tel Aviv gig, sparking boycott calls from pro-Palestinian activists. He believes music and art should transcend politics, citing his album Jarak Qaribak, featuring musicians from Israel, Iraq, Egypt, and Syria.
Greenwood's life is a blend of music and tranquility. He divides his time between Oxford and Le Marche, Italy, exploring churches and their organs. He's also an olive oil entrepreneur, passionate about his business and music. His score for One Battle After Another is Oscar-nominated, but his attendance is uncertain, recalling a previous chocolate Oscar award.
So, will there be a new Radiohead album? Greenwood is unsure, surprised by the tour's success. The creative future of this musical genius remains a captivating mystery, leaving fans eager for more.
