is an independent composer.
Unlike many of his contemporaries he will not "try
anything" to attract public attention. Instead he works consequently
on the development of his
personal styles of composition and orchestration.
Though Serge Blenner
has composed and released an impressive
number of albums (17 in 28 years, to be exact), like a true artist
he has never really been concerned about commercial success or popularity.
That’s why, despite his considerable base of loyal fans and
customers (who live as far away as in Sydney, Tokyo, and Minneapolis),
hardly anyone knows anything about the life and work of Serge Blenner
in the country he has chosen to call home, Germany. This may be
because Blenner’s music isn’t easy to categorise as
any particular genre. It’s not really ambient, nor chill out
– it's stimulating philosophic New Age Music, at most. After
all, life in a pigeonhole isn’t particularly comfortable,
no matter how popular they may be.
Furthermore, his music grew up with
him. When he began producing classical music on electronic
equipment over 20 years ago (one of the first
to do so in Europe, by the way), his contemporary
experiments were hard on some people’s
ears. When, in 1984, IBM published a lavish book
together with a vinyl compilation of the world’s leading
"computer musicians", Serge was included as the
musical enfant terrible, much to his satisfaction. However,
in recent years, his music has become gentler,
more atmospheric and much more melodic… no
longer wanting to fill the space between our ears
with agitated percussion, it now prefers to act as a stimulant and
catalyst for personal feelings and images.
Add to this the fact that Serge Blenner has always invested all
proceeds from the sales of his CDs and records into acquiring increasingly
professional studio equipment. What’s more, for his symphonic
works, he uses expensive software/sound library that basically places
the skill of the world’s top symphony orchestras at his disposal
as a base: rather than synthesizing them, he gets the richness of
tone of real musical instruments that only virtuosos know how to
coax out of their equipment. The results can be heard on his latest
CD Musique de Chambre
in pieces such as Balance
, Les Perles
, and Symbiose
orgiastically ample strings and puritanically filigree piano sonatas
flit through the cerebellum as though it were in the middle of a
concert hall. This is precisely Blenner’s second talent: dedicating
the same care to the orchestration of a piece as to its composition.
muses are philosophy, nature, and life itself. Anything
that crosses his eagle-eyed intellect’s field of vision
risks being turned into music. Thoughts solidify into themes
and fragments into sequences, which he collects and saves
until a piece is finished enough in his head for him to
transform it into something that can be heard. This peculiarity
can be hard for his friends to take: he really does begin
by composing a new piece to the very end mentally, without
anyone around him having the least idea – clued in
by experimental tinkering, for example – of what’s
A professional dream… Yes, Serge Blenner has
one, too. He loves well-made, sophisticated (documentary)
films. And, who knows, maybe the films for pieces like Balance,
Les Perles, Symbiose or La Source
already exist in some filmmaker's heads.
If not… Well, "Unfilmed Music" is a pigeonhole that
he might even appreciate.