CLAUDE LEDOUX (b.1960): érotique-lancinante, SALVATORE SCIARRINO (b.1947): arioso a cinque, MAURIZIO AZZAN (b.1987): of other spaces, ELIS HALLIK (b.1986) : to become a tree
Catalogue Number: 08Y033
Description: Ledoux tells us that the primary impulse behind Érotique-Lancinante was a quotation from "L’Amour Fou" by the co-founder of the Surrealist movement, André Breton: “Beauty in convulsion will be veiled- erotic, fixed-exploding, circumstantial-magical, or it will not be.”The ensemble's appreciation of the piece sums it up very well: "... contrasting movements with their various hypnotic, post- impressionistic atmospheres, in the form of a triptych with shimmering, intoxicating colors." The flute is the central protagonist in an essay in veiled glances, one of whispered seduction (this subtly sensuous movement centers on a dialogue between piano and flute), and the passion of the third movement, which, appropriately viewed, arguably falls into the category of pornophony. Sciarrino revised his 2018 Arioso a cinque for this ensemble the following year. The work’s præternaturally over-lit landscape, trembling in eddies of heat, the source of hallucinations like the desert backgrounds in Dalí's paintings, creates a profoundly unsettling experience of utter nakedness under the merciless gaze of the sun, surrounded by the sinister susurration of insects and shifting grains of sand. Azzan is both a composer and "sound artist". His Of other spaces incorporates spatialization as an integral part of its dramatic structure. It begins with a subtle, whispered conversation between piccolo and violin in the centre of the stage, which gradually accumulates "echoes" from the other instruments, placed around its periphery. The music then proceeds to explode inward in overwhelming waves of dense sonority, until its reverberations flood the whole space. Finally the entire sonic supernova collapses in on itself, ending the work in tiny insectoid rustlings and tickings. Estonian composer Hallik evokes the dark forests of her homeland and our fragile co-existence with nature in evocative sonorism, somewhat reminiscent of Þorvaldsdóttir's treatment of Icelandic landscape.