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Frode Haltli : Vagabonde Blu (Hubro, 2014)

frode haltli vagabonde blu

Un peu d'accordéon, en ce lundi matin ? Œuvre du musicien norvégien Frode Haltli, Vagabonde Blu est le premier de ses quatre albums à être entièrement solo. En trois titres, composés à parité égale par les Italiens Salvatore Sciarrino et Aldo Clementi, ainsi que par le Norvégien Arne Nordheim, le surprenant accordéoniste prouve de main de maître que son instrument a toute sa place dans un registre contemporain – il est bien sûr à des lieues des clichés pour bals du 14 juillet et autres vieilleries pour festivals solidaires.

Notamment sur la seconde pièce, Flashing (A. Nordheim), très impressionnante de force dramaturgique et de virtuosité contenue. Par instants carrément flippantes, sans pour autant tomber dans un mauvais trip psychédélique, le morceau exprime en quatorze minutes une conviction poétique admirable, où les instants de sérénité larvée contrebalancent la violence sous-jacente du propos. Rassurez-vous, les deux autres titres valent également le détour, notamment l’admirable Ein Kleines… (A. Clementi), tout en langueur indocile et volupté post-moderne.



Frode Haltli : Vagabonde Blu (Hubro)
Edition : 2014
CD : 1/ Vagabonde Blu (Composed by Salvatore Sciarrino) 2/ Flashing (Composed by Arne Nordheim) 3/ Ein Kleines... (Composed by Aldo Clementi)
Fabrice Vanoverberg © Le son du grisli

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Salvatore Sciarrino : Luci Mie Traditrici (Kairos, 2001)

giannisli

First of all I’ve to say I’m a devote of Sciarrino’s work. Despite of his intrinsecal manierism, I love his way to connect strong concept statements, trasversal savoir-faire through distant languages, formal elegance and outstanding writing. His work on voice is, in contemporary music, something that still demonstrates how is possible to get connected roots, tradition, conscious sense of history and an extraordinary modernity, deep in-sight relation with text and dramatic  force.

Here we meet a tragedy, in the very classical developing knot of love, betrayal, honour challenge, murder. The plot is about the tremendous life of Renaissance marvellous composer Carlo Gesualdo, who is incidetally one of Sciarrino’s myths. The opera procedes keeping voices (murmuring, confusing questions and answers, overlapping meanings) at the centre of the stage. Instruments seem to dance all around, like tearing a silence curtain, but adding and colouring the developing matter in a tensive opacity. We can feel a drama morphing under our eyes, and the listening is active. This is one of the main forces of Sciarrino.

I think this is extremely, melodramatically, deeply italian. The sense of the theatre is inevitabile, and the music itself still retains a dramatic evolution and sense. The space plays an enormous, critical role and the whoel opera is thought as a moving act. We can feel the intimacy, the minimal gestures, the everyday nearness and, at the same time, the depth, the distance, the overcoming time, the force of the history. Captured  by the structure, we have the possibility to follow different narrative threads without lose the whole drama. Sciarrino uses an extremely articulated language, from the very contemporary sound exploration to madrigal attempts, without losing a perfect formal balance. So at the end we are completely involved and really cannot remain indifferent or far from the sincerity and the force of this music.

I’m in love with the prologo and the subsequent intermezzos. Here Sciarrino uses a stategy that I often play as a musician. He starts from a quite structured idea, then he leaves it. These could be considered like seeds thrown in the fruitful path of Time. During the creative process, that idea returns, but in a sort of de-constructed way. And then proceed in a polverization of the elements to find them again in a transformed pulsing matter. It’s a modern and fresh way to keep up ideas. You can keep the drive, but sometimes, and fortunately, ideas seem to want to be left alone. And you can’t do anything else, only belonging to ideas themselves. This is the very sense of music, after all.

Salvatore Sciarrino : Luci Mie Traditrici (Kairos, 2001)
Edition : 2001.
CD : Luci Mie Traditrici
Gianni Mimmo © Le son du grisli

minimimmo

Gianni Mimmo est saxophoniste. Sur le label Amirani Records, il a récemment fait paraître un disque sur lequel on peut l'entendre : No Room for Doubt.

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