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Trio
2017
- Program Notes
- Elurretan (on snow), was to be the music of an image – Brueghel's Hunters in the Snow's music. I wanted to portrait the vast whiteness, hard and beautiful, funny and unkind. Later, other images covered the first one : Hiroshige's delicate prints, Monet translucent paintings, a lonely walk at the snowy English garden in Munich – the particular damped soundscape, that makes every noise so sharp, has a certain violence. The title of the first movement, Mara-mara, is a Basque onomatopoeia that describes snow falling, generous and light. We hear small particles articulated by rhythmical interventions. I wanted to look at the flakes from afar and very close simultaneously ; to oppose the fluffy look of a snowy hill to the cutting and geometrical profile of every snow-flake, a tiny weapon, necessary gear of the cold machine. The second movement, Irrist, contains glissandi, that correspond to the movements on a skating rink. It is, of course, a playful movement (guitar and mandolin ping-pong the notes of a common line), but I tried to bring up, through deeper gestures, a certain intensity ; an aggravation to reveal the dramatic side of chamber music. Dardar, tremor, represents the cold through a constant tremolo, a vibration of the air close to a vision – like those of Andersen's match girl. A ghost appears : a melody by Ravel, "D'Anne qui me jecta de la neige". Elurretan is also an extension of a previous piece for guitar and electronics, Belarretan (sur l'herbe), which imagined the music that Titian's Concert champêtre might contain. The electronics opened a door to an unlimited deployment of guitar sound ; in Elurretan I made my ideas exist in a restrained world of instrumental sounds, willingly repetitive and dull. I was inspired by the paradox of snow : a monotony born of the repetition of precious and unique objects.
- Record Label
- Empreinte digitale
- Performer Credits
- C Barré
- External Links