Kontact sonoreS third annual festival of new music | asymmetry music magazine

Kontact sonoreS third annual festival of new music

Kontact sonoreS is a really fine festival in a very pretty town, and its shows cover a pretty wide range of musics in quite a short span. The 2011 version, which I found out about thanks to Beatriz Ferreyra, one of the participants that year, was so much fun that I went back this year, too, as you may already know. Scroll down a bit and you can see the report on the 2012 festival.

The first concert I attended in the 2011 festival was eRikm and Quentin Rollet. I never miss a chance to hear eRikm, but I didn’t like this set much. I thought the combination just didn’t work and was happiest when eRikm finally just went off on his own. Or so it seemed to me at the time. Watching the short clip I took of the very beginning of their set, I’m wondering what it was that I didn’t like. I don’t know. It seems fine. You can see (and hear) for yourselves. For myself, I’m always glad to correct mistaken impressions.

The show with Acquaviva, Van Osselaer, and Gibello I liked right away, and was very impressed with how different each piece was. Frédéric Acquaviva’s Eledisqu, part eight of his eight part La Disque, worked according to the principle of juxtaposition. Short bursts of just three sounds–clavecin, voice, electronics–and silences, most of them longer than the bursts. The longer the silence, the more startling and important the sounds.

Gibello’s piece, on the other hand–Je suis l’écho de l’ombre d’une ombre–worked according to the principle of layering. Long lines, mostly, over a cantus firmus. Glacial changes. Time seems to stand still. A really rich piece, one to revel in for a glacially long time.

Van Osselaer’s set, on the third hand, consisted of Eric walking around tables piled high with vegetables, picking them up (seemingly by caprice) and making noises with them. The best clip I got of that set was of him making noises with a glass container of water. At least that clip does show a little bit of him hitting that container with a carrot.

The concert I had particularly come to see was the one with Parmegiani and Ferreyra. I had heard a lot of Parmegiani before on CD, of course, but none of the three pieces he played that evening, so that was a very nice treat for me.



Du Pop à l’âne

The same went for Ferreyra. I had heard many of her pieces before, on CD and in concert, but not La ba-balle du chien-chien à la
And it was very entertaining–an excellent example of humor in music and an excellent piece.

Unfortunately, the sound clip I made of La ba-balle du chien-chien à la mé-mère. is awful, too short and woefully unrepresentative. And sadly I do not have–as I thought I did–a recording of this 2001 piece. I will soon be reviewing her latest CD, which contains four of her latest pieces. No substitute, I know, but it’s all I’ve got. There’s supposedly a clip here: http://www.myspace.com/beatrizferreyra/music/songs?filter=featured, if you can get the player to work. (I could not.)

Well, anyway, the festival was marvellous. The hosts (and artistic directors), Tania and Julia and Simon, are splendid people who really know how to put together a great show.

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