Musique en ligne

STéPHAN FORTE

Author, Composer

Country : France

Email : stephanforte@hotmail.com

Link : www.stephanforte.fr.st


FORTE

Stéphan

Only

24 years old, Stephan has already behind himself an experience of 20 years of guitar

practicing. In fact, all started for him at the age of five when this young Frenchman was

offered his first guitar by his brother. The first song he learned to play was not a

nursery rhyme, but a standard of Alice Cooper I'm eighteen. Nine years later, the

discovery of Yngwie Malmsteen was a real revelation for him and from that moment on

Stephan knew he would become a professional musician.

Thus,

he forms his first band and start 'flirting' with the 'extreme' styles, such as grind and

death metal. At the same time, he starts taking some guitar lessons (which will last for 3

years) learning absolutely everything from the repertoire of the Swedish Virtuoso. At the

age of 18, Stephan stops his studies and takes one year off to practice his instrument ten

hours a day. Then, during one year, he exiles to CMCN in Nancy, the most famous French

institution for musicians. When he returns home to Montpellier, he starts digesting the

accumulated knowledge and widening his horizons by listening to all the music styles, from

classical (particularly Baroque music and Mozart) to jazz fusion. It is in that period

that he discovers among others Shawn Lane and Allan Holdsworth but moreover, he discovers

technique. Stephan also learns theory of music and thrusts into many works dealing with

this subject. Harmony in contemporary music, namely the one of Bela Bartok (whose solo

compositions for violin he particularly appreciates) opens new perspectives to him,

completing his already very good knowledge of theory of music.

In

1996, Stephan publishes his first demo “Visions”, which helps him to be endorsed

by a few instrument companies. The encounter with Yngwie Malmste ...

FORTE

Stéphan

Only

24 years old, Stephan has already behind himself an experience of 20 years of guitar

practicing. In fact, all started for him at the age of five when this young Frenchman was

offered his first guitar by his brother. The first song he learned to play was not a

nursery rhyme, but a standard of Alice Cooper I'm eighteen. Nine years later, the

discovery of Yngwie Malmsteen was a real revelation for him and from that moment on

Stephan knew he would become a professional musician.

Thus,

he forms his first band and start 'flirting' with the 'extreme' styles, such as grind and

death metal. At the same time, he starts taking some guitar lessons (which will last for 3

years) learning absolutely everything from the repertoire of the Swedish Virtuoso. At the

age of 18, Stephan stops his studies and takes one year off to practice his instrument ten

hours a day. Then, during one year, he exiles to CMCN in Nancy, the most famous French

institution for musicians. When he returns home to Montpellier, he starts digesting the

accumulated knowledge and widening his horizons by listening to all the music styles, from

classical (particularly Baroque music and Mozart) to jazz fusion. It is in that period

that he discovers among others Shawn Lane and Allan Holdsworth but moreover, he discovers

technique. Stephan also learns theory of music and thrusts into many works dealing with

this subject. Harmony in contemporary music, namely the one of Bela Bartok (whose solo

compositions for violin he particularly appreciates) opens new perspectives to him,

completing his already very good knowledge of theory of music.

In

1996, Stephan publishes his first demo “Visions”, which helps him to be endorsed

by a few instrument companies. The encounter with Yngwie Malmsteen (for whom he opens a

concert in 1998) coincides with the moment when he starts to work on vocal compositions

and not only on instrumental ones. In September 1999, Stephan makes 8 compositions that he

sends to the label Nothing To Say (N.T.S.). Being interested in them, the label discusses

with him the possibilities of forming a band which would give life to his compositions.

For that project, Stephan wants to work with Vitalij Kulprij, the Ukrainian keyboard

virtuoso of Artension, with whom he shares many musical tastes. Thus, Stephan goes at

Vitalij's to Philadelphia. They immediately hit off so well that many people think they

are brothers. They record one demo in a town's rap studio. Unfortunately, that

collaboration does not come off, because of contract and other different reasons. Yet,

that is going to be just a postponement of their working together, since they plan to

maybe make an instrumental album. At last, it is Richard Anderson, the composer of the

Swedish band Majestic who will play the keyboard solos' parts and only them, since all the

other keyboard parts on this first album are programmed and interpreted by Stephan. Dirk

Bruinenberg, from Dutch heavy metal act Elegy is going to be chosen for his very

particular drum interpretations in which he shows both, precision and speed especially

playing on large double drums. Franck Hermany, a friend of Stephan will play bass guitar.

Apart from their technical qualities Stephan also sees to recruit those musicians with

whom he gets on very well. For this project, Stephan wants to work with one Swedish

singer, such as Goran Edman or Tomas Wikstrom. Yet, in June 2000, he goes to the concert

of Pink Cream 69 and literally falls for the voice of David Readman, even though his way

of interpreting is rather different from the one of Adagio. Stephan and David have a long

talk and David finally accepts to get involved in this project after having appreciated

their music as well as the personality of this Frenchman. Therefore, his initial objective

to recruit the musicians who would bring in their own personalities has been achieved. The

understanding between the musicians is perfect which forms a good base from which a real

band will spring.

Not

being pessimist at all, Stephan does appreciate the dramatic aspect of music and therefore

he prefers key minor. That is the reason why he chooses the name Adagio which for him is a

movement that allows to better express the notion of dramatic in a harmony in key minor.

Stephan's music is a mixture of metal and classical music from different periods (from

Baroque to contemporary music). The influences? Beside Yngwie Malmsteen, although the

format of his compositions is not really something Stephan tends towards. Because of his

progressive approach and his experiments with rhythm, it seems he is rather closer to a

band like Symphony X or to some other metal groups which are more symphonic. The influence

of oriental music can be also noticed on this CD in particular concerning the harmony,

which brings about a surprising and rather new effect. The instrumental adaptation of

Immigrant Song, the Led Zeppelin classic, which appears on this album, illustrates this

attraction of his for Orient. Produced by, nowadays inevitable, Dennis Ward (Pink Cream

69, Vanden Plas, DC Cooper, etc.), this record perfectly reflects Stephan's personality

and also the one of other musicians of Adagio. In that regard, the vocal interpretation of

David Readman is remarkable breathing in Sanctus Ignis an incredible energy. No doubt that

this first album, both traditional and innovating will strongly mark the year 2001 and

will offer to its creators a privileged position in the world of today's metal music.

Stephane Auzilleau

www.musiqueenligne.com

Stéphan FORTE

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