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  luister interview PERRYMAN  
  In the May/June 2008 issue of the Dutch Luister (Listen) Magazine is an article by Angelique van Os (photos by Andreas Terlaak) about Norman Perryman's work as an artist with music: the beginning of a celebration (during the 2008/9 season) of his 75th birthday and of fifty years of painting music and musical celebrities in the form of watercolours, and performing live kinetic visuals with orchestras worldwide.  
  LEES het artikel (Nederlands)
READ the article (English translation)



“Perryman is a musician, who creates music with his paintbrush”

  - violinist Yehudi Menuhin  
  SCRIABIN Prometheus: The Poem of Fire
National Orchestra of Brussels, Palais des Beaux Arts, 25 January 2013

"The British artist Norman Perryman took his place behind his kinetic painting “easel” to accompany Scriabin’s Prometheus: The Poem of Fire, live. Scriabin had imagined an “organ” of colours associated with the sounds of his Prometheus. Perryman visualized something quite different, but with a sense of the drama coming from the orchestra, the piano and the choir, and a liaison with the dynamics of the score (admirably interpreted by Maestro Blunier) that the composer would not have repudiated. A concert that one dreams of: surprising, polymorphic, innovative.", Martine Mergeay, 28 January 2013

  SCRIABIN Le poème de l’exstase
Royal Concertgebouw Orchestra

Paint-splashes in concert hall

“The Royal Concertgebouw Orchestra opens its season with the inter-relationships between music and the other arts..... Thursday’s concert was a colourful evening..... The greatest attraction was the British artist Norman Perryman, who painted in real time to Scriabin’s Le poème de l’exstase – introduced by Director Jan Raes as an “orgy of sound and colour”. Perryman took on the role of colour, projected on a giant screen above the orchestra. Subtle, flowing transitions between four overhead projectors resulted in an agreeable interchange of pastel tints, dissolving forms and converging splashes of colour.

It was exciting to see how the live painted images alternately collided with and blended with the music. As the English conductor George Benjamin let the orchestra fluctuate between the benign, mysterious and violently explosive, an interesting exchange developed, in which, for example, the panicky feeling from screeching trompets and shrieking violins was countered by soft brush-strokes.”
Volkskrant, 27 September 2010

STRAVINSKY L'Histoire du Soldat/The Soldier's Tale
Netherlands Chamber Orchestra, Het Concertgebouw

“The trump card in the performance were the interventions of the painter Norman Perryman, whose kinetic images were seen live on screen in giant projections, as he illustrated the drama with modern, fluid painting and images of varying degrees of abstraction”.
NRC Handelsblad, 13 September 2004


“Stravinsky would have undoubtedly given his approval to the fantastic synthesis of live painting, theatre and music this weekend in the Amsterdam Concertgebouw. In “The Soldier’s Tale” an immense screen hangs above the stage, on which one can follow the gestures of the kinetic painting by Norman Perryman. The devil danced, the soldier marched to the rhythm of the music and melted into the image of his painted beloved. With a superbly chosen combination of concrete and abstract images that flowed into each other in an ingenious manner, Perryman followed the structure of the music, but at the same time allowed the development of his interplay of forms and colours. Rhythmically he moves his brushes along the crooked route which the soldier follows. When the devil blocks his way, the brush transforms itself into a threatening black monster. Irresistible!”
De Telegraaf, 14 September 2004


MUSSORGSKY / RAVEL Pictures at an Exhibition
with Het Gelders Orkest

"Two bubbles of paint when projected become two planets on a collision course. You feel the audience holding their breath. Other artists tell you to come and look when it’s finished. But then you’re too late! I want to show the creative process as it happens, so beautiful because it’s ephemeral, like a sunset, you’ll never see it again.”
De Gelderlander, 3 November 2004


MUSSORGSKY / RAVEL Pictures at an Exhibition
Symphony Hall Birmingham / CBSO / Sir Simon Rattle

Joy of Visions and Sounds

“With the worlds first-ever concerto for paintbrush and orchestra, Perryman introduced a new art-form. How thrilling to be at its birth! As it moved on-screen, the paintbrush itself also became a vital image, insect-like, loose-limbed, humorous or moving with swirling lyricism.”
Birmingham Post, July 1993


“Concerto for Paintbrush and Orchestra”
BBC documentary on Perryman’s performances to music, with Sir Simon Rattle

“An ingenious audio-visual experiment, with brilliantly conceived imagery”
The Times, 12 July 1993


GERTRUDE STEIN Dr. Faustus lights the Lights (chamber opera)

A pleasing assault on the senses

"Neither Faust nor Marguerita played the principal role in this performance: everything revolves around the light. Light that is given form through the live painted projections of kinetic painter Norman Perryman and his assistant. Occasionally one is reminded of those psychedelic liquid slides (of the sixties), but this is staggeringly effective. The way in which the serpent’s bite is visualised is superb. The contrast between the sunny and warm colours for Marguerita in the Second Act and the hard cold light of the projectors in the beginning of the Third Act is also much more than just functional."

  "For the premiere of “Faust’s Light” they managed to obtain the well-known kinetic painter Norman Perryman, who painted live to the music with watercolours on overhead projectors. The results were extraordinarily beautiful, intense colours, almost psychedelic images on the white walls. Images continuously in movement, flowing, swimming. Beautiful. Just in front of me the Director of the Amsterdam Opera sat watching with interest. Maybe Norman Perryman will soon be engaged by the Netherlands Opera?", 18 May 2006
  "The performance as a whole was carried by the soprano Antje Lohse and the ambience created by the live kinetic painting of Norman Perryman on overhead projectors. He creates with flowing watercolours an intrinsically appropriate décor, which illuminates the distinctions between natural light and artificial light, but is also part of the action. For example, when Marguerite-Ida and Helena-Annabelle is bitten by the serpent, he “paints” her white dress red."
NRC Handelsblad, 18 May 2006
  "A major role was reserved for kinetic painter Norman Perryman. Painting with watercolours on overhead projectors, he covered the walls (of the podium) with flowing colours, forms and dramatic lights, synchronised with the music."
Volkskrant, 19 May 2006
  "The strongest element in this production was the visual setting. Norman Perryman’s projections of “decors”, painted on the spot, offered the audience a visual cohesiveness which was lacking for the ear."
Trouw, 19 May 2006
  AUGUSTA READ THOMAS Murmurs in the Mist of Memory

“One of the most memorable moments of the opening night of the Yong Pyong Great Mountains Music Festival was a performance by Norman Perryman in the Asian premiere of Murmurs in the Mist of Memory by Augusta Read Thomas. Perryman used overhead projectors to show his kinetic brushstrokes on screen during the music. He created an abstract illusion of spontaneity, building a layer of visual experience on to the music as it was performed on stage.”
JoongAng Daily August 13, 2007


"Perryman's compositional energy... is fortunately controlled by his poetic and musical nature. As in Kandinsky's work, one must look for the secret of this oeuvre in the intimate musical harmony of its author, which gives him a very special view of the world... The sensitive, lyrical rhythm in his compositions has an effect similar to that of a page of music".
Roy Oppenheim, Head of Cultural Programmes, Swiss Television, Zurich, 1972


"Perryman's works witness to a deep inner experience. They particularly excel for their unusually fine linear rhythm. We seldom meet such incredible musicality in visual artists".
Neue Berner Zeitung, 1966

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