OLIVIER MELLANO (b.1971): Perpetuus animarum motus I for Contralto (Émilie Nicot), riVIÈere - String Quartet No. 1 (Quatuor Debussy), La chair des anges for 2 Harpsichords and Organ (Bertrand Cuiller & Frédéric Rivoal [harpsichords], Olivier Vernet [organ]), As the fire's tongues of earthly pleasures licks the holy's wings for Voices and Guitars (Valérie Gabail [voices], Olivier Mellano [guitars]), Chant d'électrons for Computer, Eterre for Harpsichord (Bertrand Cuiller), Perpetuus animarum motus II for Soprano, Contralto and 2 Tenors (Les Voix imaginaires).
Catalogue Number: 12I095
Reference: MO 782178
Description: Mellano's predominant harmonic language is firmly tonal, plus or minus the kind of strategically placed discords, promptly resolved, that one encounters in the more intellectually satisfying types of rock music or Philip Glass' choreographic scores (the latter not infrequently coming to mind when listening to this collection). As the fire's tongues could be mistaken for sections of Glass' Descent Into the Maelstrom arranged for electric guitars and keyboards with vocal parts not unlike those floated by Glass and Nyman over their insistent instrumental accompaniments in their 1980s ensemble works. The computer/synthesizer piece Chant has something of early Pink Floyd about it, and not a little of Glass' Einstein. When composing for 'classical' ensembles, instruments (he likes harpsichords) and voices, one is reminded of Poulenc here and there, Arvo Pärt, the inevitable borrowings from Bach and the gestures and harmonies of the Baroque.