J.-F. Durand, Ombre/Miroir for Flute and Ensemble

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Available for purchase  from Wergo (WER 68542)
Shadow Games, edition musikFabrik
Michael Jarrell: prisme/incidences II for violin and ensemble
Stefano Gervasoni: Far niente for double bass and 17 instruments
Joël-François Durand: Ombre/Miroir for solo flute and ensemble
Brian Ferneyhough: Shadowtime VI. Seven Tableaux Vivants Representing the Angel of History as Melancholia for speaker and ensemble

Black is the color of the bile said to induce a state of gloom. In the form of “melancholia,” it has become an allegory of the artistic imagination. The hour of melancholy strikes at night, when the sleep of reason brings forth its monsters.
This CD takes us on a foray into the land of shadows: its compositions make remarkable use of light and shadow effects while simultaneously recalibrating the relationship between ensemble and soloist in unique ways. Michael Jarrell’s arrangement of a violin concerto for chamber orchestra refracts the solo instrument’s line through the prism of the ensemble. The tale told by Stefano Gervasoni’s “lowered” concerto for double bass is only superficially about dolce far niente; his music is a nocturnal creature that gathers odd sound forms – until the alarm goes off. Taking an (early-morning) look in the mirror, the solo flute in Durand’s “Ombre/Miroir” finds itself still faced with shadowy creatures as well. And finally, in Brian Ferneyhough’s seven tableaux vivants, the angel of history appears: in verses of poet Charles Bernstein he shows his gloomy face.

production by Westdeutscher Rundfunk

booklet writer: Stefan Fricke
conductor: Diego Masson – Etienne Siebens – James Wood
orchestra/ensemble: Ensemble musikFabrik
Ensemble musikFabrik / Hae-Sun Kang: violin / Michael Tiepold: double bass / Helen Bledsoe: flute / Omar Ebrahim: speaker / conductors: Diego Masson, Etienne Siebens, James Wood

Critics say: Zart ist, einer oftmals herben Blechbläser-Klanglichkeit gegenüberstehend, der Vortrag von Solistin Helen Bledsoe, die eine große Spannweite des Ausdrucks in ihr Spiel eingreift, aber auch – wie vor allem die kadenzierenden Passagen zeigen – mit der Virtuosität von Durands Musik umzugehen weiß. – klassic.com 


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