« I feel like my life has always been defined by music. My father used to play piano beautifully and he was a fantastic improviser. This doubtlessly made a strong impression on me’’.
TINAYRE began taking piano lessons when he was 4: ‘’My parents arranged my first encounter with music through an old friend of theirs. She played me notes at the piano hiding the keyboard and I had to guess their names. It was quite natural for me. She was a harp player, and I still have a vivid memory of this huge imposing instrument that stood in her music room, like a kind of Patton tank…’’
While in high school, TINAYRE collaborated on several theatre plays, creating both the music and the songs and also played the piano during the performances. Soon after, he began playing in various blues and rock groups.
In his twenties, TINAYRE had already become successful in the world of pop music. As a stage and studio musician, he wrote, arranged and played keyboards with a number of bands whose members included musical greats: Alan Stivell, Laurent Voulzy, Alain Souchon,…
An innovative use of instruments: ‘’In the 80’s, the synth’s development nearly drove me mad! All those new sounds bursting out of nowhere were a fantastic source of inspiration. I was one of the first owner of Prophet 10 in France, then came PPG Wave 2.2, and EMU 1, 2 & 3. One day, I found an Ondioline, one of the forerunners of today’s synths invented in 1941 by George Jenny. It greatly augmented my already-impressive collection of keyboards. Participating in a studio session was a like a huge shake up !’’
From a rich and diverse cultural background: ‘’When I was 20, I was insatiably curious about playing all kinds of music out of my musical sphere. I hunted down every new experience, every music I wasn’t familiar with!’’
In the movie business, TINAYRE’S flexibility in adapting to various large scale projects has yielded wonderful collaborations with respected directors such as Ken RUSSEL, Leos CARAX, Christian FECHNER, Patrick BRAOUDÉ, Merzak ALLOUACHE.
His scores cross over a variety of film genres to include comedy, musical, drama and romance, as well as TV shows, major events and musicals.
His skills as an arranger and music programmer add to his technical array in producing music: ‘’It soon became evident that writing and playing music were just part of the game ! There is no way to underestimate the handling of synths, mixing consoles, plug-ins and all these magic tools ! If you want to stay in the groove of what’s happening today, you need to learn how to record, mix and master your music. The more you do, the more it drives you forward ! And furthermore, it’s a lot of fun!’’
As an arranger, Gilles has completed a great number of musical arrangements for various artists: Touré Kunda, Martin Circus, Henri Salvador, The Platters, Claude-Michel Schönberg, Mama Bea Tekielski…
He has also collaborated with several radio & TV stations, creating music packages for M6, Medi 1, RPL, concerning films as well as a several TV series, particularly for TF1 (Un et un font six, Marc Eliot, Brigade des mineurs, Music Art…)
Equally at home in the worlds of classical, world and rock, Tinayre has faced cultural and musical challenges his entire life, which has given him the ability to transcend genre and tradition in the music he creates: ‘’I feel it’s an important part of a composer’s life to help breaking down the geographical and cultural barriers by composing scores combining diverse elements into inventive music.’’
TINAYRE worked on several musicals: ‘’It all started with ‘’Bernard de Clairvaux’’, an outdoor musical co-written with Daniel Facerias, staged by Michael Lonsdale and performed for 5 years in Clairvaux (Aube). Two hundred walk-on actors, all from the area around Clairvaux, 15 horses, 300 costumes… The music was prerecorded, and I sang the main role. A wonderful experience of share between non professionals proud of their cultural heritage, and a strong team built around Michael.
Then came “Oliver Twist”, a musical based upon the Charles Dickens novel. I arranged the whole music play, coached the singers and did all recording and mix for the CD. After that, I got back to the performances of outdoor musicals with “Bernadette de Nevers”, dedicated to Bernadette Soubirous (Lourdes). I was passionate about writing the treatment and the music, fascinated by this incredible character. How that poor and asthmatic little girl succeeded in imposing her deep convictions to the whole world is still a mystery to me. Jacques Demarny et Pierre-André Dousset wrote the wonderful lyrics. The musical was first performed in Nevers in 1995, staged by Jean-Luc Villemot, and is currently in development for adaptation for the US, Canada and South America.’’
Official functions: ‘’Part of my life is dedicated to the protection of author rights and highlighting film music composition. President of the Film Composers Guild (UCMF) for 3 years, it was a period of tremendous activity! We settled the film music centenary (2008) and did a lot all over… it was a full time job! Impossible to keep a slot open for composing. Now that is finished, but I still keep an eye on the main events concerning our profession, by sitting in on various boards. Experience needs to be shared!’’
Working at the studio: ‘’One of my best experiences is to arrive in the studio in the morning (the earlier, the better!) and to move in the specific musical landscape needed for the deal of the day. Analyzing what’s requested, then looking for the idea to come is a real pleasure for me. Another must is to start composing from a sound or musical element just heard outside in the street. There are a lot of inspiring sounds everywhere all around us, that are really worth listening to’’.
Exhibitions: ‘’Part of my job actually is composing and recording music for big exhibitions. I recently wrote the score of the “Dubaï World Cup 2013 Opening Ceremony”, a huge live show created in Dubaï by Prisme International for about 100 000 spectators. Super punchy music! That kind of work implies a close watch on the sound dynamics in your mix in relation to the PA used for broadcasting. »
Romanian roots: ‘’As a kid, I remember being absolutely fascinated by some 78s from Romania owned by my grandma, brought by her Romanian family. Every time I was home with her, I asked her to play that music. It moved me differently, deeply impressed by both its moving and minimal expressivity. No other music turned me on that way ! As a grownup, it was fantastic to rediscover a different approach, but the same kind of emotion through « 8 ½ », the Fellini’s film, with the amazing score of Nino Rota, who immediately became one on my very first references.
Later on, it became obvious I had something to do with Balkan music. It all started by creating a movie concert around the Dziga Vertov silent movie ‘’The man with a movie camera’’, scoring the music for a Balkan brass band and a 150 mixed choir. It was a fantastic feeling to finally capture part of my roots! I kept plugging at it and was finally given the opportunity to record through Universal a group of new compositions in Skopje (Macedonia) with some of the very best Balkan musicians. »