Prix : EUR 30,28
Iranian Orchestra For New Mus Reviews and Opinions
5.0 etoiles sur 5
En Anglais certes, mais un chef d’oeuvre, 27 septembre 2009
Par Jacques COULARDEAU "A soul doctor, so to say" (OLLIERGUES France) - Voir tous mes commentaires(TOP 500 COMMENTATEURS)
(VRAI NOM)
Ce commentaire fait reference à cette edition : Iranian Orchestra For New Mus (CD)
The vast background undulating and never ending music that is like a veil in the wind wraps up and enhances the clear and well defined sharp and metallic notes of some strings picked in the foreground that introduces at times typically oriental sentences and tonalities or variations that reverberate on the swerving veil behind. That impression of a foreground of human voices, of human dances in between and behind or in front those veils of dreamlike imagination is haunting and mesmerizing, attracting us in that vast sea or sandy expanse of infinity. The second track of the CD uses again the contrastive force of various instruments being played one on top, behind, under or around the other, percussions versus strings played with a bow or picked, notes linked together in a continuous flow of sound or detached like pearls on a string or grains in a bowl, it all contributes to build a world in which rhythm is as variable as the wind in the desert, as uncertain as the shining reflections of the sunshine on myriads of raindrops. The third track introduces some human voices chanting, or humming within the music, then a male voice stands clear in front to then merge or fade into the music in which hundreds of other voices starts repeating some whispered lamentations. And the clear male voice appears again in the foreground, sounding so close to our own sounds, our own languages, just to remind us the Iranian language is part of our cultural family, and yet the title, "This Loneliness" seems to become a call on us to hear the linguistic message, the cultural demand to recognize them, that music, as our not so distant cousin. The next track "The House of Lord" increases that impression of some closeness. We are in the very heart of our most modern music, our most creative music. Echoes of so many Pierre Schaeffer or Pierre Henry, Xenakis or Pierre Boulez, of our electro acoustic or concrete music, and yet it is no imitation because of the instruments that are used in this music, and their sounds, that are not ours, and yet seem to be close cousins to them. That garden of the Lord could be an experimental garden of Eden of advanced world class music. The most striking element remains the great variations and variability of the rhythmic patterns that really evoke a modern metropolis and its life, though slightly tuned or slowed down to some nonchalant merging into these whirling and crisscrossing movements of a circumvoluting sombreness that may be transpierced from time to time by some clear notes or phrases. Is it the sombreness of the world or the clarity of the soul, or vice versa and vice versa again. We do not know any more where clarity is and sombreness lies, inside or outside, or are we the inside of clarity or sombreness or the outside of each one or both. No surprise when "Ophelia I" and "Ophelia II" come. Ophelia is the very symbol of someone who is lost in the absence of a sense of belonging which becomes at once the feeling that one belongs to that very absence of belonging, that one cannot belong to the world since one feels rejected or crushed by this world. To belong is to be absent, and to be absent is belonging. We are thus the very slaves of life and the puppets of death. Ophelia is the true tragic character of Hamlet, and not Hamlet himself. Hence she cannot be killed by the world because her belonging and existential call is to die, to get out of that life that cannot retain her since she does not belong to it. We feel in some percussions at this moment some impatience to be delivered, like some package, to this death we long to see, meet, congratulate for its attractive fascination. This music is highly tragic and dealing with our deepest divided and multiple loyalties, and yet with the requirement if not demand from this world to be part of one globalized vision though it cannot exist except in absolute and multifarious diversity.
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