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Sounds of Transformation

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Sounds of Transformation SOUNDS OF TRANSFORMATION DAVID GREILSAMMER YARON HERMAN GENEVA CAMERATA The Geneva Camerata, David Greilsammer, Yaron Herman, and Ziv Ravitz give the world premiere of “Sounds of Transformation” at the Berlin Philharmonie on 8 September 2016 © Mathieu Quehen SOUNDS OF TRANSFORMATION DAVID GREILSAMMER piano & conductor YARON HERMAN jazz piano ZIV RAVITZ drums GENEVA CAMERATA 1. Lully – Bourrée from Le Mariage Forcé 1:03 DAVID GREILSAMMER 2. Lully’s Diabolic Swing * 2:58 conducts all the pieces except on tracks 12, 13. He plays and conducts Ravel’s Piano Concerto in G on tracks 9–11. 3. Purcell – Prelude from The Fairy Queen 0:38 4. Purcell in Transformation * 5:04 YARON HERMAN plays on tracks 2, 4, 7, 8, 15, 16, 18. 5. Ives – The Unanswered Question 7:02 YARON HERMAN AND DAVID GREILSAMMER 6. Rameau – Contredanse en rondeau from Les Boréades 3:19 play four hands on track 18. 7. Rameau and the Flying Big Band ** 3:16 ZIV RAVITZ 8. Marais’s Night Ballad ** 3:56 plays on tracks 2, 7, 8, 16, 18, and performs a solo improvisation on track 13. MASSIMO PINCA 9.-11. Ravel – Piano Concerto in G (Allegramente 8:53 | Adagio assai 8:16 | Presto 4:03) plays the jazz bass with Yaron Herman on tracks 2, 4, 7, 8, 15, 16, 18. IRA GIVOL 12. Marais – Le Badinage 4:34 plays the viola da gamba on track 12. 13. Rameau’s Secret Cavern 1:48 SIMOS PAPANAS 14. Rameau – L’Orage from Platée 2:22 plays a Balkan improvisation on track 4. 15. Ives Asks the Moon ** 8:05 KATYA POLIN 16. Purcell Danced with the Planets * 3:15 plays the recorder on tracks 1, 17. 17. Purcell – Hornpipe from The Fairy Queen 0:50 NICOLA TAPELLA plays the English horn on track 10. 18. Lully’s Last Dream ** 4:04 19. Lully – Marche pour la Cérémonie des Turcs SYLVAIN TOLCK from Le Bourgeois Gentilhomme 2:29 plays the solo trumpet on tracks 5, 15. * Composition/arrangement by Massimo Pinca ** Composition/arrangement by Jonathan Keren SOUNDS OF TRANSFORMATION A world in transformation. A world in which every element, every voice, concerto’s central movement, in itself a stupefying core, can be seen and every sound is in constant evolution, in extreme renewal, in perpetual as the heart that beats for the entire palindrome. From each side of the motion. A universe where every movement, every light, every spark is concerto, at different spots, pieces from the past and their jazz twins are urged to change, implored to liberate itself, giving birth to a new entity. pivoting and traveling on their orbit continuously – staring at each other, Like the silkworm, meticulously transforming itself into a marvellous caressing each other, transforming each other. butterfly, every fragment of music, as beautiful as it may be, has the ability to dissolve, in order to go through an intense metamorphosis. This is how, thanks to unforeseen bridges, various composers from the In the years that unfolded before the making of this album, as we were Baroque – Lully Purcell, and Rameau – will give birth to new sounds, taking relentlessly exploring this idea of transformation in music, one aspect us by the hand to a world of improvisation and liberty. Charles Ives’s remained clear in our minds: our wish was not to revisit classical pieces, The Unanswered Question, an emblematic piece of the Modern era that or attempt at giving a new meaning to masterworks of the past; instead, redefined time, space, and dissonance in music, will be heard, only to later we wanted to initiate through this process a series of encounters between come back in its transfigured form: as it keeps on searching for an answer, pieces and their imaginary twins, triggering unexpected and staggering the piece will unveil an intimate conversation between trumpet, piano, dialogues. However, generating transformation and creating unforeseen and orchestra. meeting points can rapidly become chaotic. This is why, as the various elements of this project were coming to life, it quickly became obvious “To think that all things in this life always remain in the same state, is that the album would need to keep a very clear and rigorous structure. believing in the impossible”, writes Cervantes in his fantastical Don Quixote. And this structure, we realised, had to be the palindrome. This album wishes to follow Cervantes’s guidance, by opening a door that could reveal a universe where every sound, rhythm and colour may The form of a palindrome – while presenting a unique pattern that could change in an instant, leaving us no choice but to alter our path forever. be explored from beginning to end or from end to beginning – was also going to give us the possibility to place the classical pieces and their Here we are, the time has come. The door is now opening, a long and transformed twins at different spots of the programme. Therefore, in one strange journey is about to begin. But, how far will it take us? part of the album, a jazz piece will be performed right after its classical twin, while in another part, it is the opposite: transformation can indeed David Greilsammer occur at any given time, defying the conventional rules of chronology. The change from one piece to another can be sudden, vigorous and even explosive, or it can be subtle and almost unnoticeable. Inevitably, one the most fascinating aspects of this process was going to reside in building the bridges that would give us the possibility to connect the two worlds; we had to envision and create those decisive moments of transformation, after which, nothing would ever be the same. But as imaginary as it may be, our palindrome had to contain a real, firm and steady core, a center part that would be able to attract and bring together the other elements – like a point of gravity around which the planets can move and dance, following their extraordinary trajectory. In this album, the center of gravity appears in the form of Ravel’s Piano Concerto in G, one of the first pieces in history to allow traditional sounds and rhythms to transform themselves into jazz and blues. Moreover, the David Greilsammer piano & conductor © Elias Amari SOUNDS OF TRANSFORMATION Un monde en transformation. Un monde dans lequel chaque élément, planètes gravitent et dansent, tout en suivant leur extraordinaire trajectoire. chaque voix et chaque son est en évolution constante, en renouvellement Dans cet album, le centre de gravité apparaît sous la forme du Concerto extrême, en mouvement perpétuel. Un univers dans lequel chaque lueur, pour piano en sol de Ravel, l’une des premières pièces de l’histoire à avoir chaque étincelle, chaque corps est incité à changer, encouragé à se permis à des sons et à des rythmes traditionnels de se transformer en jazz libérer, donnant vie à une entité nouvelle. Tel le ver à soie qui se transforme et en blues. Par ailleurs, le mouvement central du concerto – en lui-même méticuleusement en un merveilleux papillon, tout fragment musical, aussi un noyau stupéfiant – peut être considéré comme le cœur qui bat pour beau qu’il soit, possède la force de se dissoudre, dans le but de traverser le palindrome tout entier. De chaque côté du concerto, à différents une intense métamorphose. emplacements, des pièces du passé et leurs jumeaux actuels gravitent et voyagent sur leur orbite inlassablement, s’observant, s’effleurant, se Dans les années qui ont précédé la réalisation de cet album, alors que nous transformant. étions en train d’explorer incessamment cette idée de transformation en musique, une pensée continuait à être claire dans nos esprits : notre volonté C’est ainsi que grâce à des passerelles insoupçonnées, plusieurs ne consistait pas à revisiter des pièces classiques, ni à donner un nouveau compositeurs du Baroque – Lully, Purcell ou encore Rameau – donnent sens à des chefs-d’œuvre du passé ; plutôt, ce que nous recherchions, était naissance à de nouvelles sonorités, nous prenant par la main vers un la possibilité d’initier à travers ce processus une série de rencontres entre monde d’improvisation et de liberté. La Question sans Réponse de Charles des œuvres et leurs jumeaux imaginaires, déclenchant ainsi des dialogues Ives, œuvre emblématique de l’ère moderne qui a permis de redéfinir inattendus et vertigineux. Toutefois, générer de la transformation et créer le temps, l’espace et la dissonance en musique, sera entendue, pour des points de rencontres inespérés peut vite devenir chaotique. C’est finalement revenir plus tard dans sa forme transfigurée : alors qu’elle pourquoi – alors que les divers éléments du projet commençaient à continuera à chercher une réponse, la pièce dévoilera une conversation prendre vie – il devenait évident que cet album aurait besoin de maintenir intime entre trompette, piano et orchestre. une structure claire et rigoureuse. Cette structure, nous étions en train de le réaliser, allait être le palindrome. « Croire que dans cette vie, les choses doivent toujours durer au même état, c’est croire en l’impossible » écrit Cervantes dans son miraculeux Don Présentant toujours une forme qui peut être parcourue du début à Quichotte. Cet album souhaite suivre l’enseignement de Cervantes, en la fin ou de la fin au début, le palindrome allait nous offrir la possibilité ouvrant une porte qui révèlerait un univers dans lequel chaque son, chaque de placer les pièces classiques et leurs jumeaux métamorphosés à rythme et chaque couleur a la capacité de changer en un seul instant, nous différents endroits dans le programme. Ainsi, dans l’une des parties de laissant qu’un seul choix, celui de transformer notre parcours, à jamais. l’album, une pièce jazz peut être jouée immédiatement après son jumeau classique, tandis que dans une autre partie du voyage, c’est le contraire.
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