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His love of improvisation, the fact that he never learned how to read/write music and that he was quite reclusive were all things I could relate to, gain encouragement from, and thanks to him, understand the importance of emotion in music. I was forever a fan of Vangelis since those days. This would elevate scenes to a level, with atmosphere and emotion that we don't experience very often in movies, and an impression that for many of us lasted a lifetime. A rare talent that allowed him to imbue his music with his emotions derived from the visuals, in real time as he experienced them. His direct and improvisational method of translating what he sees and feels instinctively to the keyboard is genius. There aren't all that many composers that successfully paint the world we see on screen with music in such a perfect way as Vangelis did with Blade Runner. I first discovered Vangelis' music, like many I'm sure, as a teenager seeing Blade Runner for the first time. Requiesce in pace, Maestro, and thank you for your beautiful and timeless music. What a gift and musical giant he was to me and millions of others. Though he didn’t read music, and though I was tickled that 90% of his spontaneous compositions gravitated towards a tonal center of C# or Db, I truly feel he was a genius. His music emphasized beauty in its simplicity, and yet his sense of orchestration was masterful and spontaneous in its creation.

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His music has largely been a soundtrack to my life and it has made my life’s experience all the more beautiful and full of marvel and wonder. His music has been an immeasurable inspiration to me and has certainly influenced my own creative efforts with my Blue Landscapes music and elsewhere. I remember when the internet came into being, he was one of my first “searches” and I was printing out pages of information dedicated to him with the fear that someone might decide the internet was a bad idea and it would shut down. I own all of his albums and soundtracks, which are numerous. Then came Chariots of Fire and Bladerunner, still one of my favorite films largely because of his presence. I first became acquainted with his music in the Carl Sagan production, “Cosmos”. I’m devastated to learn that Vangelis has just departed this world after battling Covid. I’ll be playing it until I fall off the stool on which I perch when healing. I’ll always treasure that.īut, more than anything else, thank you Vangelis for all the beautiful and often spine-tingling music that helped lift my healing to heights I couldn’t have imagined. I’m not often starstruck or tongue-tied but that day I was - until he put me at ease and I forgot that I was talking to a legendary figure.Īs one of his greatest fans, I once paid £250 for a signed limited edition album he’d recorded. I once had the privilege of spending an afternoon with Vangelis at his Nemo Studio in London and we chatted about nature, mythology, reincarnation and music. And I think I succeeded to create something like this.”

He said: “My interest was not to create a symphony orchestra, which I can very easily, but to go further than that and do things that the symphony orchestra can’t do. Vangelis, the legendary Greek-born electronic composer and musician who was best known for his theme song for Oscar-winning ‘Chariots of Fire’, has died today at the age of 79.įor 40 years his music was the soundtrack of my healing as I played albums such as ‘Oceanic’, ‘1492’, ‘Blade Runner’ and many others, both in private sessions and during healing demonstrations. Vangelis' collaborator for 17 years, conductor of the English Chamber ChoirĪ PART OF MY HISTORY PASSES WITH THE DEATH OF VANGELIS And a special t-shirt for the concert - still here somewhere! I am conducting and look really transported by the music (which I was). Here’s a photo of me with him at the first concert we did together: Heaven And Hell in the Royal Albert Hall in February 1976. But I have been involved in his music many times since, and hope that will continue. So despite our separation for, bizarrely, 30 years now, I still feel very close to him and hugely regret we did not meet again. He even said, in some early creative sessions, “we are brothers!”, and I helped him through one major personal crisis. We had not worked together for many years, but between 19 I worked with him closely on many projects, especially writing arrangements, mainly choral, from Heaven and Hell right through to 1492: Conquest of Paradise and I also sang solo tracks and conducted for very many recordings, films and for concerts ranging from the Royal Albert Hall to Docklands in Rotterdam to Athens in the Olympic Stadium and the Odeon of Herodes Atticus on the Acropolis.

Patches for echoes of sorrow 2