ABUSE FORM
Michael Jarrell ("Compositeurs d'aujourd'hui" IRCAM-Eic collection) (1994)
Posted By :
wolfy13
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Date :
05 Sep 2011 11:43:30
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Comments :
6
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Michael Jarrell ("Compositeurs d'aujourd'hui" IRCAM-Eic collection) (1994)
XLD Rip | FLAC+CUE+LOG | Covers | 56:50 | 192 MB
20th Century Classical - Contemporary | 1994 | Accord
XLD Rip | FLAC+CUE+LOG | Covers | 56:50 | 192 MB
20th Century Classical - Contemporary | 1994 | Accord
Pierre Strauch, cello - Daniel Ciampolini, percussion - Michel Cerutti, percussion
Pierre-Laurent Aimard, piano - Florent Boffard, piano - Gérard Buquet, tuba
Christophe Desjardins, viola - Emmanuelle Ophèle, flute - Didier Pateau, oboe
Ensemble intercontemporain - Peter Eötvös, conductor
TRACKS
01. Assonance V (1990), for cello and 4 instrumental ensembles [13:31]:
...chaque jour n'est qu'une trêve entre deux nuits...
...chaque nuit n'est qu'une trêve entre deux jours...
02. Assonance VIIb (Rhizomes) (1991-93), for 2 pianos, 2 percussions and electronics [16:09]
03. Assonance IV (1990), for viola, tuba and electronics [08:24]
04. Congruences (1988-89), for midi flute, oboe and ensemble [18:45]
| “ | These works provide yet another example of the diversity and quality of inspiration to have emerged from the musical world's most distinguished experimental laboratory, Ircam, and its attendant demi-monde. Jarrell makes use of electronics in all but one piece, generally by way of enriching textures and adding spatial and timbral effects rather than as an integral part of the compositional material. Actual musical material tends to consist of small cells, though a fragmentary impression is avoided by frequent diversions into motoric rapid-moving patterings and patternings which propel the music dynamically, conventional harmonic progression being largely absent. Ultimately, though, it is the composer's acute sense of tone color and the delicate and sensitive treatment of timbre that provide the music's most compelling qualities. ASSONANCE VIIb (RHIZOMES): The word "rhizome" is a botanical term referring to the underground travelling stem. From one end grow new branches and new leaves, while the other end withers. As is demonstrated by its etymology, it is a root. But the word rhizome is also used to describe a philosophical concept developed by Gilles Deleuze and Félix Guattari, notably in "Mille plateaux". Following a quotation from a work for piano by Bussotti - which would seem to imply a probable musical connotation - the analysis of the concept stresses the inherent principles such as connection, heterogeneity, multiplicity and non-significant rupture: "A rhizome has no beginning and no end. It remains in the middle, among things, an intermediate being, an intermezzo. A tree infers the presence of branches but necessarily implies the verb to be, whereas a rhizome is built out of connective tissue "and... and... and..." there is sufficient combined force to shake and even uproot the verb to be". In its attempt to extract itself from the compulsory reference to the ideas of Deleuze, and to return to the reality of the philosophical writings and the ramifications of generative grammar, "Rhizomes" realizes the conjunction of the organic and the biological, the simultaneity of different periods, times and tempi by borrowing its substance from Assonance VII (1992) in addition to a percussionist. At the same time it explores the continuity of form and timbre, binding and blending the mobility of the percussive universe with its tam-tams, cymbals, gongs, maracas and bongos, with the inflexibility of the temperate universe. | ” |
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un titolo stupendo!
grazie per questo raffinatissimo disco :)
Thank you very much for Jarrell! I'm fond of his Assonance VIIb.
er..for some people,
...chaque jour n'est qu'une rêve (without the "t") entre deux nuits...
Thanks wolfy.