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Soloists EIC - American Pioneers (Cité de la Musique - March 1, 2011)

George Perle - Woodwind Quintet No. 1

I like the wind quintets in general, and this is no exception: blending styles to be very difficult to date (composed in 1967, some passages could have the being 40 years earlier), flirting with neo-classicism but using a technique of overlapping or juxtaposed cells much more modern, three-slow-fast movements are lively charming, playfulness or softness (but not much than just that - charming).

John Cage - Music for Wind Instruments

It remains in the woodwind quintet, for an early piece of Cage, who carries all on its originality: the first movement uses only three winds, the second the remaining two, and everyone for the third. There is a simplification of speech which lets consider some future developments of his music, but it retains a melodic aspect almost surprising. But that leaves me little souvenirs.

George Crumb - Eleven Echoes of Autumn

There is much more serious attack. The stage is plunged into darkness when the drums resonate played on piano by Hideki Nagano. The atmosphere is the ritual, the ceremony secret. Various playing techniques (set in the strings of the piano or hit woodwork hammer percussion, violin, mandolin used, or desaturated sounds, flute and clarinet played by resonance in the piano, whispered words and whistles, etc.) create a very dense material but intense emotions. Impalpable and mysterious beauty, one might think inspired by an oriental invented.

Henry Cowell - The Banshee, The Tides of Manaunaun Tiger

These are three short piano pieces, using techniques of cluster rediscovered, developed and popularized by Cowell, and rubbing ropes and others. I understand that other composers have been there many avenues to explore thereafter, but these ideas are given here as a little run of the mill, with little subtlety.

Charles Ives - Trio

They are three (violin, cello, piano), and there are three movements, very distinct from each other: a serious discussion between cello and violin in the background of piano, a sketch "= this tsiaj Scherzo Is A Joke "full of quotations, and a memory of Sunday religious solemnity and full of righteous compunction. Okay, this is a chamber music side that I did not know the music of Ives, which is easier to access than the sometimes too spectacular pieces for orchestra.

Spotify : George Perle: Complete Wind Quintets , George Crumb: Echoes of Autumn 11, Henry Cowell - Piano Music , American Classics: Charles Ives

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Planning March-April 2011

This is a fairly unusual program, with more than Dance and Jazz, and large empty spaces ...

• Date - Place - Name
• 01/03/2011 - CoM - The American pioneers
• 06/03/2011 - TdV - Akram Khan
• 08/03/2011 - CoM - Nono Liszt
  
• 19/03/2011 - TdV - Charnok Lock Lecavalier
• 31/03/2011 - TdV - The Winter's Tale
• 02/04/2011 - CoM - Accentus
• 09/04/2011 - CoM - Nono Berio
  
• 12/04/2011 - CoM - Dave Douglas
• 17/04/2011 - Ple - Dave Holland Overtone
• 20/04/2011 - CoM - Cecil Taylor
• 22/04/2011 - TdV - Gallotta
• 28/04/2011 - HoM - EIC - Open Stage
  

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Hackbarth Adams Reich (Cité de la Musique - 25 February 2011)

John Adams - Chamber Symphony

I do not always the first movement "Mongrel Airs", with its binary rhythm hammered, lines scrambled, his synthesizer sounds too forward (but why put so much attention to information the least musical? it is not so marked on CD!), and always as the second movement, "Aria With Walking Bass, rhythm kindly natured double bass and bassoon, dialogues with the strings and winds, small acid points. Before the CIS (where Eric-Maria Couturier has been replaced by a beautiful cellist not mentioned in the booklet - I finally find his name on Gaze James : Yska Benzakoun), François-Xavier Roth waddles across body, carried away by the speeds superimposed.

Ben Hackbarth - Crumbling Walls and Wandering Rocks

After the usual ballet technicians (they are a half on stage!) That move all the chairs and add microphones everywhere, this piece, inspired by Joyce's Ulysses, begins The impact of rocky, deep, spatially, rather well. Things go wrong with the debut of the strings, which have nothing to say, but do so at great length. "Subtle changes of timbre and gesture," says the booklet. Too subtle for me. Trouble deeper and deeper. Some boos. I just do not applaud.

Steve Reich - Tehillim

"The most beautiful work of Reich," says my neighbor at the end, and this may be true. In any case, this interpretation was a delight. Perfect balance between instruments and voices amplified, probably because the Synergy Vocals are specialists in this directory and work at the microphone: these four female voices create wonderful harmonies. There is a wind that carries us in one go from one movement to another, bright (ah this entry in which the hands slamming invite us to dance, and the arrival of the votes in canon and bass for suddenly give a depth and thickness; simple but effective unstoppable), bright (no guns, just melodic lines exposed to winds and voice), slow (what a beauty that this movement, watch tinkling, carefully crafted orchestral colors!), then bright again, a clear complexity, in a dazzling kaleidoscopic shimmer.



Spotify: John Adams - Chamber Symphony / Grand Pianola Music , Steve Reich - Tehillim / Three Movements

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Opera Ballet de Lyon - William Forsythe (Theatre City - February 23, 2011)

Workwithinwork

The decor could hardly be more minimal: walls lined space, pierced by few gates, giving the impression of a rehearsal room, though no bar or mirrors.
The dancers engage in duets and trios, redoubled or not, while others do or not spectators, in various configurations continuously. Fluidity and virtuosity combine all the movements, where arms and legs in bloom balances, imbalances, twists and extensions, language espousing the classical vocabulary (yes, there are peaks!), But by pushing the front- custody. In
soundtrack, they are violin duets by Luciano Berio, and how faithfully wife dance music is not the least surprising part of this: each of the duets (which are sequences of tens of seconds to minutes) is a pattern of dance, but also speeds up with music, and a climate that may also ensue. The set is playful, lively and beautiful, even if a bit repetitive over time.

Quintett

This time, there is a small device on stage: a trap where the dancers emerge and where they took refuge, and a projector that only late in the show, because shoved The cloudy sky that slowly diffused into the trap.
There are only 3 dancers and two dancers on stage, instead of 16 of the previous play. And music slowly takes off requires a climate very different: we hear Gavin Bryars and over again, gradually covered by the strings, "Jesus' blood never failed me yet", and this color of shadow deadly scene. But dance
partly contradicts this darkness: its constant renewal, in ebb and flow, duets frantic elongated bodies and incorporating breath, translated over the permanence of the life force stronger than the melancholy depression. From
range V, and quoiqu'équipé binoculars, I can see only part of the architecture of postures and graceful movements, a shame as Caelyn Knight Day.



Elsewhere: Day Humor, A Little Steps , Palpatine (with photos of Range C, lucky) ...

Spotify: Berio's Duets are transposed onto David Vincent - Berio & Boulez: Dialogue, Chemins, Story ... the blood of Jesus is the second part of Gavin Bryars - The Sinking Of The Titanic .