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TREMBLAY, JACQUES - Chroniques d'une Seduction

Format: CD
Label & Cat.Number: Empreintes Digitales IMED 0897
Release Year: 2008
Note: three works inspired by the "Otherness", second CD on Empreintes D. by the Canadian composer
Price (incl. 19% VAT): €12.00

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"Auf Chroniques d‘une séduction (IMED 0897) verbindet JACQUES TREMBLAY (*1962, Jonquière, Québec) 3 Kompositionen durch den roten Faden ‚Andersheit‘. ‚Espresso espressivo‘ (2003-04) lobt Kaffee als sinnlichen Teleporteur, der schon Bach in einen anderen Zustand versetzte. ‚L‘énigme anima‘ (1997, 2001) lässt C. G. Jungs Persona - als Gitarre - und Anima - als Countertenorstimme - sich gegenseitig stimulieren. Aber das sind nur Präliminarien zu ‚Empathies entropiques‘ (1998-2001), ein polyglottes Opus von 47 Min., angeregt durch Martin Bubers Ich und Du und Yves Daoust gewidmet, von dem Tremblay alles Wesentliche seiner Kunst gelernt hat. Die Episoden ‚La petite Camille‘, ‚L‘enfant d‘Afrique‘, ‚Ganga is Divine‘, ‚Lolita corpse et âme‘, ‚Polonaise‘, ‚Tryptique russe‘, ‚Rêve libanais‘ und ‚Haiti troubadour‘ sind jeweils durch eine andere Sprache anders - Babygebabbel, Afrikanisch, Arabisch, Englisch, Russisch, Französisch. Das Andere bringt in Verlegenheit - speziell, wenn der Sohn eines KZ-Überlebenden erzählt - und fasziniert zugleich. ‚Empathies entropiques‘ möchte dazu verführen, sich verführen zu lassen, das eigene Fremdeln als Verwunderung zu genießen, den Krampf des Verstehenmüssens zu lösen und das Unverständliche empathisch und musikalisch zu hören." [Bad Alchemy]

“Espresso espressivo” (2003-04). “L’énigme anima (1997, 2001)”. “Empathies entropiques (1998-2001)”. “The main theme running through all three of the works included on this cd is otherness. Each piece illustrates different facets of this theme. O the irony! As I try to fold back around my memories, my ability to focus is suddenly challenged by my noisy neighbour going by and talking loudly into his cell phone headset. The noise of this undesired speech immediately ties up my memory. This foreign tongue and its strong accents are heckling me. However, I persist in writing, which soon relegates the surrounding audio flow to the background. Since I cannot grasp the meaning of the words, my neighbour’s conversation becomes beat, movement, pace. And my listening finds purchase on the musicality of the sound. Later, when I resume my active listening, I realize that elsewhere in the background, over my head in fact, the patrons of the fruit store are ‘pacing around,’ influenced by the ebb of a radio, whose sound reaches me through the floor-ceiling in a highly-filtered form. Finally, further in the background is an animated layer of vehicle sounds pulsated by the clock mounted on the wall… An Arabian song comes from a car, panning from left to right... Multiplicity is here and now and... My attitude hesitates between shutting it all out or marveling at it. I listen... looking from the inside out... and rather than closing itself up, my perception tries to feed off these sonic imprints. The above sums up pretty well how I found my pace in realizing these works. My vision extrapolated into numerous ramifications along the way. My attention still thought it was focusing on a familiar sound, but it was actually slipping into the chronicles of intrigue and fascination. And for this experience, the ‘I’ becomes the ‘other.’ And being able to dissociate oneself from it is strangely fascinating. Isn’t that part of the Other’s seductive power? This very otherness holds the power to awake us, dust down our old ready-to-ware suits-ideas, initiating a new fresh attitude toward astonishment and discovery.” Jacques Tremblay