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VICENTE-SANDOVAL, DAFNE / LARS PETTER HAGEN — Minos Circuit
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MINOS CIRCUIT
Minos Circuit is the resonance of a double exploration, that of an instrument, the bassoon - an instrument dear to Dafne Vicente-Sandoval - and that of a listening, of a gaze, almost. The first exploration deconstructs the instrument, tearing it apart, reducing it to an archipelago of sound bodies stimulated by an electro-acoustic device that generates feedback and infiltrates each part of the bassoon, in order to carry out a methodical, systematic examination. The second exploration is the inner one of attention and listening, the one that measures, at each moment, the necessity or not of an intervention in the very act of the musical work, of this subtle balance that is established between composition and observation, between action and contemplation.
Minos Circuit est la mise en rsonance dune exploration double, celle dun instrument, le basson instrument cher Dafne Vicente-Sandoval et celle dune coute, dun regard, presque. La premire exploration dconstruit linstrument, le met en pice, le rduisant en un archipel de corps sonores stimuls par un dispositif lectroacoustique gnrateurs de larsens qui vont sinfiltrer dans chacune des parties du basson, pour en faire lexamen mthodique, systmatique. La seconde exploration, cest celle, intrieure, de lattention et de lcoute, celle qui mesure, chaque instant, la ncessit ou non dune intervention dans lagir mme de luvre, de cette bascule subtile qui stablit entre composition et observation, entre action et contemplation.
TRANSFIGURATION 4
Both a meditation on musical ruins and a study of the material of Richard Strausss Metamorfosen, Transfiguration 4 works on the musical fragment as an expressive and poetic possibility that can be deployed below or beyond simple musical syntax, a syntax that is still too often equated with music itself. What Lars Petter Hagen highlights in this remarkable work is that the power of music lies at its fringes, that is, at the edge of its own disappearance. Transfiguration 4 floats in a particularly moving way in these troubled lands, where nothing is ever resolved, and where everything, however, is suspended, like a stream of blurred memories that memory would summon to form an intuition. A musical intuition.
A la fois mditation sur les ruines musicales et tude du matriau de Metamorfosen de Richard Strauss , Transfiguration 4 travaille le fragment musical comme possibilit expressive, potique, pouvant se dployer en-de ou au-del de la simple syntaxe musicale, syntaxe encore trop souvent assimile la musique mme. Ce que met en lumire Lars Petter Hagen dans cette uvre remarquable, cest que la puissance de la musique se situe ses franges, cest--dire aux lisires de sa propre disparition. Transfiguration 4 flotte de manire particulirement mouvante dans ces contres troubles, o rien jamais ne se rsout, et o tout, pourtant, se suspend, comme un flux de souvenirs flous que la mmoire convoquerait pour former une intuition. Une intuition musicale.
https://portraitsgrm.bandcamp.com/album/minos-circuit-transfiguration-4
Minos Circuit is the resonance of a double exploration, that of an instrument, the bassoon - an instrument dear to Dafne Vicente-Sandoval - and that of a listening, of a gaze, almost. The first exploration deconstructs the instrument, tearing it apart, reducing it to an archipelago of sound bodies stimulated by an electro-acoustic device that generates feedback and infiltrates each part of the bassoon, in order to carry out a methodical, systematic examination. The second exploration is the inner one of attention and listening, the one that measures, at each moment, the necessity or not of an intervention in the very act of the musical work, of this subtle balance that is established between composition and observation, between action and contemplation.
Minos Circuit est la mise en rsonance dune exploration double, celle dun instrument, le basson instrument cher Dafne Vicente-Sandoval et celle dune coute, dun regard, presque. La premire exploration dconstruit linstrument, le met en pice, le rduisant en un archipel de corps sonores stimuls par un dispositif lectroacoustique gnrateurs de larsens qui vont sinfiltrer dans chacune des parties du basson, pour en faire lexamen mthodique, systmatique. La seconde exploration, cest celle, intrieure, de lattention et de lcoute, celle qui mesure, chaque instant, la ncessit ou non dune intervention dans lagir mme de luvre, de cette bascule subtile qui stablit entre composition et observation, entre action et contemplation.
TRANSFIGURATION 4
Both a meditation on musical ruins and a study of the material of Richard Strausss Metamorfosen, Transfiguration 4 works on the musical fragment as an expressive and poetic possibility that can be deployed below or beyond simple musical syntax, a syntax that is still too often equated with music itself. What Lars Petter Hagen highlights in this remarkable work is that the power of music lies at its fringes, that is, at the edge of its own disappearance. Transfiguration 4 floats in a particularly moving way in these troubled lands, where nothing is ever resolved, and where everything, however, is suspended, like a stream of blurred memories that memory would summon to form an intuition. A musical intuition.
A la fois mditation sur les ruines musicales et tude du matriau de Metamorfosen de Richard Strauss , Transfiguration 4 travaille le fragment musical comme possibilit expressive, potique, pouvant se dployer en-de ou au-del de la simple syntaxe musicale, syntaxe encore trop souvent assimile la musique mme. Ce que met en lumire Lars Petter Hagen dans cette uvre remarquable, cest que la puissance de la musique se situe ses franges, cest--dire aux lisires de sa propre disparition. Transfiguration 4 flotte de manire particulirement mouvante dans ces contres troubles, o rien jamais ne se rsout, et o tout, pourtant, se suspend, comme un flux de souvenirs flous que la mmoire convoquerait pour former une intuition. Une intuition musicale.
https://portraitsgrm.bandcamp.com/album/minos-circuit-transfiguration-4