Works More Greek composer Georges Aperghis, born in Athens in has lived and worked in Paris since This piece is at the root of much of his future investigations into the relationships between music and text, between music and stage. Employing musicians as well as actors, the ATEM performances were inspired by ordinary life and social issues transposed into an often absurd, satirical and poetic world. These works were progressively built up through successive rehearsals.
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Fragments of the everyday life gesture to bang in the back, to shake hands, to drink in the name of common memories, etc. Syllables and musical phonemes intelligible for them but not for the audience. Festival short documentary at the occasion ot the creation HERE. The work takes the form of a tryptich: the first part is an ensemble piece, put together by using fragments of diverse colour and contrasting contents, which are arranged sequentially or superimposed upon one another, so that changing polyphonies are constantly created.
At the end of the first part, the music becomes seemingly more individual; we are now faced with 24 solo players — which form the second part of the triptych. It is a mosaic of solo pieces, duets, trios and quartets that either stand by themselves or are performed simultaneously. The musicians move around the stage at will, at times keeping to themselves and playing on their own, or entering into a musical dialogue with others. Those who are currently not playing, listen to their colleagues, either sitting in an easy chair or on a sofa; at times they will participate in the music that evolves at that moment, at others they might comment, or they are simply present, as if they were lost in their own thoughts.
This organised chaos gradually becomes more structured and leads to a massive movement which constitutes the third part, an ensemble piece, which refers back to the individual voices we heard in the second part, reinforcing them and allowing them to echo throughout the whole ensemble before the piece culminates in an erratic and piercing tutti.
As you can see, the piece changes shape three times. In the second movement there appears to be something like an enlargement effect, as if one was approaching the musicians in order to get as close as possible to their personality. Gradually abandoning my original idea of writing a concerto grosso finally led me to this solution. Sequences appear, like sonic images. The voice traverses these spaces, provokes them or undergoes them, or plays with them in a versatile way.
One seems to be following the errand ways of the other, through contrasting fragments that succeed each other in a non-linear fashion. Game, scale system of maintaining a balance of power between two trends based alternately on one or the other. Scale system which is to demote after advancing to undo after. Wild romance.
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