7. Michael NymanThe Draughtsman’s Contract
It was the first classical music where it really sounded aggressive and almost punky. I just love the formalism of it, and even when I think about it, I get shivers. It really sort of does something to me that other music doesn’t. I just love the way there’s no drums and bass, it’s just a lot of people going at it really rhythmically and beautifully arranged. Also, the harpsichord is right.
The first time I heard the music was on the Peter Greenaway film of the same name, and that would have been maybe 1989. I remember thinking the film was mental, but I really liked the music! Obviously he did a few others of Greenaway’s, and they’re all fabulous of course, especially Prospero’s Books.
It was fun to meet him [The Divine Comedy played with the Michael Nyman Band at the 1997 Edinburgh Festival]. He was a wild man, as they say over here. He certainly knows his own mind. He’d spend the rehearsals with his headphones on listening for Crystal Palace’s results and trying to flirt with the cello player, and I love his spectacles, he’s always got a good range of eyewear!
When you passed him a copy of Promenade, you said: "You can sue me if you like." Has he taken you up on your offer of litigation?
No! He really didn’t see the similarity and I thought, "Brilliant, okay, that’s slightly demeaning!" I’d written this music that I was almost consciously or whatever of how similar it was to Michael Nyman and he doesn’t see it at all!
