Spooky Ghost Meditation on Life on Mars

Greetings Friends

We had a great night at Rockwood 3 on Friday. A real nice turn out and an intense show.

One new piece I tried out was a kind of Meditation on Life on Mars. I was working on the DB Tribute for the Brit Awards show and around the same time listening to a beautiful piece by Arvo Part, one of my favorite composers of modern classical music and his Cantus for Benjamin Britten in particular . Anyhow I was then inspired by Davids composition of Life on Mars. I discovered that it has a descending half step line all through out, also most like a classical piece and I wanted to develope a study to illustrate this. You will hear that the piece starts out quite spare and simple like a prelude, or an omen of something forthcoming but soon takes some interesting turns if you stick with it.

You can listen below. I posted one with the spoken introduction which kind of sets the scene, and one with just the music if you want to just get to the music straightaway.

Anyhow , I hope you like it…

Spoken Introduction Version

Music Only Version

And the Arvo Part masterpiece …Cantus in memory of Benjamin-Britten, which of course is light years ahead of my little study …






About Gerry Leonard

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4 Responses to Spooky Ghost Meditation on Life on Mars

  1. bowiepages says:

    Reblogged this on David Bowie Is and commented:
    Когда музыка плачет. На концерте Джерри Леонард играет фантазию на тему Life On Mars. Он пишет о том, что готовя трибьют Дэвиду для Britt Awards, он слушал Арво Пярта “Cantus” в память о Бенджамине Бриттене и обнаружил, что в этой композиции нисходящее движение по ступянм натурального лада Ля минор очень напоминает отрывок из Life On Mars. Своим исполнением он постарался это проиллюстрировать.

  2. Rob Spratt says:

    Gerry, you are awesome. I follow all that you get up to with immense interest and enjoyment. Thanks for everything

  3. Rob Spratt says:


  4. Neil Forrest says:

    Cantus in memory of Benjamin-Britten exquisitely expresses the kind of pathos one might feel in the wake of Bowie’s absence. It works with a sentiment that Bowie seems not to have had until Blackstar.

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