MONDAY 16.05

In the traditional music of Latin American countries maracas appear almost exclusively as percussion ‘exclamation points’ – you can hear them in cadences and accented parts of measure. An exception is music from the plains of Venezuela where the maracas often play on their own, becoming solo instruments instead of rhythm markers. Such an emancipation of the Venezuelan cooing instruments inspired Javier Alvarez when he began to think of a song whose performer would need to master short rhythmic structures in order to combine them together in a masterly manner, thus creating more complex systems to be compiled, imposed or juxtaposed with their mirror reflections captured on tape. The whole would create a dense poly-rhythmic network. The result was the composition entitled Temazcal (in the ancient Aztec language, ‘water that burns’).

Misa tiniebla by Guillaume Contré is built as a musical exploration of an impossible to define place. A place that may be empty, a place that may be blurry, a place that may be sacred. It may also be the sonic description of an ancient rite of some sort. Musically, it is built on tension, a tension that never resolves itself, or that may find a resolution in a symbolized chaos, a fiction. The listener dives here in an autistic landscape, lost in a repetition that is hypnotizing yet uncomfortable. A certain violence may lie beneath.

16.05.2011 | 7:00 p.m.
180 Krakowska street

“State of Captivity” – La condition captive Christine Groult – it could not be created if not for free air. The composer emphasizes that most of her musical ideas were inspired by the place of their initial performance – the courtyard of Caen castle. For the artist the title State of Captivity means being a human, the human condition. Groult refers to the image of the coachman (soul) known from the Upanishads, who is dependent on the coach (body) and horses (senses). No soul, no cry – easy to say; fortunately this difficult task may be much easier with La condition captive – shortly after its beginning you can easily form an opinion on the matter.

Ce qu’a vu le vent d’Est – what the east wind saw. According to Annette Vande Gorne – a desert storm; curtains of sand falling on each other, once openwork once tight, where you can clearly trace the history of Iraq – a cake with layers of civilizations. A work by the Belgian composer shows the influence of Debussy, namely his three works: Dialogue of the wind and the sea (third part of La mer), Ce qu’a vu le vent d’Ouest from Jeux and orchestral interludes Pelléas et Mélisande. Gorne builds her composition based on abstracts from Debussy works three waves of tensions and relaxations, namely “tension counterpoint”: tensions are subject to stretto, relaxation to augmentation. As Gorne herself believes “it creates a time model, where layers of grain matter cover each other, concealing or revealing the influences of Debussy”.

16.05.2011 | 9:30 p.m.
180 Krakowska street
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