今回発表された3タイトル全て激ヤバです！！ Erstwhile Records系列の新レーベルとして2018年誕生したElsewhereの2019年6月の発表作品。Robert Ashley、Charlemagne Palestine、Francisco López、Michael Pisaro、そして先頃出版されたAlvin Curranの[Dead Beats]で秀逸な演奏を披露した百戦錬磨のピアノプレイヤーReinier Van Houdtと、当店オススメのミニマル、コンテンポラリーコンポーザーBruno Duplantの組み合わせ。"Lettres Et Replis"というコンセプチュアルなスコア作品で、ピアノ録音をレイヤー状に配置しつつフィールドレコーディングを重ね、少し影のある半透明の倍音やら、ノスタルジーかつ豊かな響きをポツポツと創出していきます。
This album contains six pieces written by French composer/artist Bruno Duplant, all composed and realized by Dutch pianist/composer Reinier van Houdt. Duplant's scores 'Lettres (pour Reinier van Houdt)' (2017) are three letter-form scores personally addressed to van Houdt containing letter sequences distributed across the page. 'Trois replis d'incertitude' (2018) are also three letter-form scores but with the notion of 'repli' (meaning 'fold' in a Deleuzian postmodern baroque sense as well as 'withdrawal' of incertitude and reactionaries toward the neglect of ecology, humanism, and culture). Duplant's scores also reflect Mallarmé's notion of textual space and chance, leaving a large room for the interpreter/performer.
Van Houdt’s realization of these scores are like his ‘reading’ and ‘replying to' Duplant’s scores, with composing three ‘Lettre’ pieces with multi-layered recordings of his piano sounds, and three ‘Repli’ pieces with his piano recordings and his field recordings. Van Houdt’s delicately nuanced piano sound, translucent overtones and rich resonances increase nostalgic colors and melancholic shadows as the record develops.
“I composed my realizations around the fundamentals of reading and writing. The Lettres are connected to melody spelled out and read in all directions propulsed by memory and gaze. The Replis are connected to the harmonies from a place as they permeate and unravel through the metaphorical holes made by writing, linearly arranged again with recordings of a walk along the river that traverses this place. Letters cannot be erased, they affirm the materiality of language. Words (like music) are not envelopes containing clear messages, nor are they loaded guns as Sartre would have it. The possibility of meaning is rooted in the dark side of language where destruction and meaninglessness precede all possible worlds.” (Reinier van Houdt).
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