Sounds and Silence

Genre: Documentary
88 min

We are looking

for something very special.

Something to do with sound.

It's always like this

when working with Manfred.

Not only must you get the microphones...

into the correct position

and select the right filters,

you must also inspire the musicians...

so that something can be created.

Conductor, musicians and sound engineer...

have to become one organism

and then you get results.

What we are seeking

must also touch the musicians.

They also want to receive something.

This enthusiasm,

this seriousness must be transferred.

And this is the reason...

why the final version of the work

is often the best one.

We go through hell,

we're exhausted,

we have reached our limits,

but then deep inside us

we hear this pure sound,

which motivates us,

and Manfred lives it with us

and sometimes hears it

much better than us.

Then he becomes the composer's

companion in creation.

...that is how it works...

it has a beautiful movement...

For me the luminosity of sound

has always been a goal.

A beautifully ringing tone, for instance,

is like the streak of a comet,

like a falling star...

that discharges a light

and leaves a tail behind.

This is how I would like to capture

certain sounds in music.

And... that is what I am looking for.

I like to travel,

so as to distance myself from what

I always do in Munich or elsewhere.

Music has no fixed abode.

Music is where it is found,

where it takes place, where it develops.

I have always been interested...

in these borderlands between orient

and occident, and later on, the North.

These always had a really...

fundamental influence

on my musical thought.

A music producer

should also be a musician.

I put my bass in the corner

to become a producer,

because I had the feeling

I could do more for music that way,

devote myself more completely to it...

I played with American musicians,

while I was engaged in

a classical training;

at the same time I played the bass...

as a Jazz musician.

And that wasn't too bad,

but all the same I recognized...

I would never be able to play

like those I admired...

and heard from a distance,

so I decided to stand on the other side

of the microphone and record them.

My becoming a producer

was also a crucial decision,

because I thought that...

the sound I heard

from orchestral recordings...

was never the same as the one

I heard if I stood among the players.

And so I tried

to come a bit closer to reality,

and I worked at improving

my capacity to hear music...

applying myself

to my own school of listening.

And so on.

Formerly there were many oud players

in the big orchestras.

And they are still around,

but rarely heard.

The oud player was the central figure

in the classical Arab orchestra.

He was the orchestra's driving force.

Then the oud practically disappeared,

and now it is coming back again.

There are also musicians...

who devote their time to making ouds.

It's a recent development.

And it is wonderful.

You see, you must not forget that

there's very great tension on the strings,

so it must be well dried.

We are very eager

to hear what it will sound like.

I hope it will sound good.

As it is hard to find a good oud,

you're always worried

that something will happen to it.

So you shouldn't be

absent-minded at airports!

Manfred cannot be fitted into any category.

He is a producer, composer,

and musician,

rolled into one, but a poet, too.

With an extraordinary feeling for silence,

for rhythm,

for the tone colours of instruments.

Formerly I never had a producer

and did everything myself.

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Peter Guyer


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Submitted on August 05, 2018

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    "Sounds and Silence" STANDS4 LLC, 2021. Web. 12 May 2021. <>.

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