Enya: It was very difficult for me not to be involved with music,because both my parents were very dad, when he was 14,joined with his mum and dad,and he toued around mum was a music teacher dad"s music would be a very sort of variation of ballads,Irish ballads,to Glenn iner-type of hits that were happening at the then the area I come from know as the GaeItacht area,the northwest of Donegal,means that you"re brought up speaking Gaelic as your first language within that there is a lot of Irish traditional music within that area as well So I felt Feally lucky that I heard all sorts of diverse music at a very young age.I wasn"t aware of it,but I definitely was very determined to be involved with e are three people that,you know,are involved to: myself, Nicky and Roma.
Roma:We started working together,I suppose about when we made the decision,"OK,we want to do this,"we put together a studio.
Nicky: The free time I had Enya had that was living in our House and she started ,a11 these melodies started to come out,so we got to gether whenever we could,and then Roma started to write lyrics.
Roma:At the time I said to Enya and Nicolas,‘the music is visual don’t think about soundtrick initially?"
Enya: I started to compose piano melodies,instrumentals,and Roma found them very viual and thought they’d be suited for film work ,and found then very visual and thought they"d be suited for film work and got in touch with film directors and film then got a script sent from David Puttnam for The Frog Prince.
David Puttnam:Something about the story reminded me of Enya and Enya"s music,and I sent it to then,Roma and Enya and they liked it a we worked,I think 6 months,they Worked 6 months on the score of the film and dlivered what I think is an absolutely gorgeous score,beautiful score.
Enya: And that was the beginning of working with soundtrack We heard they were making a BBC documentary on the Celts,so we thought this was perfect.
Nicky:We were woking on a particular Piece of music at the we"d Actually titled it the match of the Celts.
Roma:To me,an inspiration was historic,was were relating to the story of the Celts.
Nicky:And I got a phone ca11from TonyMacauley,whois a producer from the BBC in northern Ireland asking us,would we work on this new series called The Celts.I couldn"t believe it ’s really was an amazing he said,"Do you have any music that you can send us down?"So I sent him down just a the director got back to us and said, "We could have the whole Series… 72minutes of music to do."And that"s how the first album happened.
恩雅:我很難不被音樂吸引,因爲我交母都喜愛音樂.我爸爸14歲的時候就和他的.父母一起遊歷愛爾蘭,我媽媽教音樂。爸爸的音樂中混合了愛爾蘭民謠的各種風格,還有當時紅極一時的格倫·米勒風格。我來自冬納戈西北,那裏是愛爾蘭語地區,就是說在那個地區,你從小就以蓋爾語爲第一語言。那裏也有許多愛爾蘭傳統音樂。所以我覺得自己很幸運,在很小的年紀就聽過所有類型的音樂。當時我還沒意識到這個,但我下了決心從事音樂。你知道,這就要說到三個人:我自己、尼克、還有洛瑪 。
洛瑪:我們開始合作大概是在1982年。我們下了決心說:"好,我們想做這個,"就成立了錄音室。
尼克:那時我和恩雅有空閒時間。恩雅住在我們家裏,她開始進行創作,創作出了所有這些旋律,所以我們一有機會就聚在一起,然後洛瑪填詞。
洛瑪：當時我跟恩雅跟尼克說"這音樂很形象化。我們何不考慮做點原聲樂?"
恩雅:我開始譜鋼琴曲、樂器曲洛瑪發覺這些曲子很形象化,她認爲適合用來給電影配樂,於是就跟電影導演和電影製片人聯繫。後來接到了大衛·普特南的劇本《青蛙王子》。
大衛·普特南:電影中有些東西讓我想到恩雅和恩雅的音樂,我把劇本發給洛瑪和恩雅,她們非常喜歡。後來我想工作了有六個月吧,她們爲這部電影配樂工作了六個月,最後交給我令人叫絕的音樂,那音樂太美了。
恩雅:原聲樂就這麼做起來了。後來聽說英國廣播公司正在拍一部凱爾特人的記錄片,我們覺得時機正好。
尼克:當時我們正在做一段音樂,實際上後來給它起名叫《凱爾特人的長征》。
洛瑪:我的這個靈感來自歷史,愛爾蘭歷史。你會聯想到凱爾特人的故事。
尼克:英國廣播公司在北愛爾蘭的製片人託尼·麥號利給了我電話,問我們願不願意給新系列片《凱爾特人》做音樂。我簡直不能相信,真是太巧了。他說:"你們有沒有什麼音樂寄過來給我們聽一聽?"於是我給他寄了一首。然後導演找到我們說:"我們會有一整個系列…72分鐘的音樂。"第一個專輯就這樣誕生了。
