concert April 28 at the Cité de la Musique, on "short form - long forms, which has the advantage that it can squeeze in any program.
Ensemble Intercontemporain directed by Ludovic Morlot played:
Iannis Xenakis - Phlegra
George Aperghis - Parts for twelve
Iannis Xenakis - Rebounds
(percussion solo: Gilles Durot)
George Aperghis - Heysel
George Aperghis - Daily Happiness (creation)
(soprano: Donald Michael Dansac
mezzo Marianne Pusher)
More claimed that the theme of the concert, long and short forms, it seemed that the drivers were the son Free virtuosity and the difficulty of establishing delusional. We have almost sorry for musicians to imagine the difficulty that should represent such a program, although for Gilles Durot Rebounds in is very rewarding: it can be fun to make a number of percussion-hero about 12 minutes the audience transforms sleepy City of rock music in public (and he is entitled to a standing ovation from his colleagues behind the scenes), it must be said that the performance is amazing to see physically (and then it makes a terrible racket). However, I challenge any drummer or percussionist Sunday rock standard play 3 minutes of this thing, not even completely in place. Xenakis would have an enemy and percussionist sought a way to get rid for good ...
Phlegra is complex, several overlapping structures, it seemed almost impossible to follow without the score. This music leaves the listener a bit on the side of the road: the reasons that come up repeatedly in the wind, same (but different reasons) in the strings, and here and there (yes, note the subtle reference that I'm in the operetta Véronique), repeated notes, this story is even more convoluted. Emerges a sense of twelve contemplative poetry, for me.
Exhibit twelve of Aperghis was based on a muttering muttering in serious waves who leave abruptly in the high (well, uh, I summarize and I shematized, eh) and you can listen without much spark, but it's subjective, of emotion.
The program closes with the big chunk of the evening, creating a piece more than a half-hour soundtrack spoke-sang, "Daily Happiness" by Georges Aperghis. It is a dialogue "stylized" between two women, consisting solely of sentences of life everyday, as a succession of small scenes absurd, or a single scene that is changing. But maybe I mouthed that night, I especially felt that accumulation of small sentences was irrelevant in the end a long uninteresting stuff. Hat the two soloists, who managed to escape without any language that does fork once, because, yes, it is also a great demonstration of virtuoso music, with even small phrases diction for theater people to be repeated dozens of times as fast as possible without crashing. They have managed to create a crescendo in the intensity intended by Aperghis, while behind, the Ensemble Intercontemporain knits a kind of frame which is not paying attention. Finally, here is what. Bravo for having put all this in place, kudos to the composers write things unplayable. To say I was excited more than that, no.
Maybe I was wrong mood. I will try again to listen to this if the opportunity arises.
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