{"id":2350,"date":"2015-08-03T11:15:12","date_gmt":"2015-08-03T11:15:12","guid":{"rendered":"http:\/\/carolrobinson.net\/?page_id=2350"},"modified":"2015-08-17T12:46:58","modified_gmt":"2015-08-17T12:46:58","slug":"radigue","status":"publish","type":"page","link":"https:\/\/carolrobinson.net\/fr\/recordings\/radigue\/","title":{"rendered":"Radigue"},"content":{"rendered":"

[vc_row][vc_column width=\u00a0\u00bb1\/2″][vc_single_image image=\u00a0\u00bb1393″ img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

Naldjorlak I, II, III <\/strong><\/p>\n

ELIANE RADIGUE<\/p>\n

Naldjorlak I<\/em><\/strong>\u00a0 pour violoncelle (41\u00a0:19)
\nNaldjorlak II<\/em>\u00a0<\/strong> pour deux cors de basset (47\u00a0:04)
\nNaldjorlak III<\/em><\/strong>\u00a0 pour deux cors de basset et violoncelle (47\u00a0:49)<\/p>\n

Charles Curtis \u2013 violoncelle
\nCarol Robinson, Bruno Martinez \u2013 cor de basset<\/p>\n

Double CD shiiin 9 (2013)
\nwww.shiiin.com<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Presse<\/strong><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]John Dale<\/a>
\nUncut<\/strong>
\nMars 2014[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Julian Cowley<\/a>
\nThe Wire<\/strong>
\nJanvier 2014[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Guillaume Belhomme<\/a>
\nLe son du grisli<\/strong>
\n12 d\u00e9cembre 2013 Juillet\/Ao\u00fbt 2003<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>John Dale<\/strong>
\nUncut
\nMars 2014<\/p>\n

Quietly exhilarating acoustic hypnosis<\/p>\n

[\u2026] Her music, premised upon teasingly slow development, and requiring incredibly attentive listening, must offer instrumentalists great challenges. And yet the players on Naldjorlak I II III take on these gorgeous, gently unfolding works with preternatural skill and patience. Over almost 150 minutes, Naldjorlak patiently explores the dronological capacities of the cello and two basset horns, a music of rare depth, but most definitely not of gentle, ambient lassitude. This is fiercely dedicated music indeed.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Julian Cowley<\/strong>
\nThe Wire
\nJanvier 2014<\/p>\n

An awesome journey of discovery<\/p>\n

[\u2026] Beyond the infinitesimal changes and finely nuanced detail of its surface, Naldjorlak is resilient and self-contained; simultaneously as tough as catgut and as delicate and fleeting as the bloom of a butterfly’s wing. [\u2026]For all of its microtonal subtleties and density, Naldjorlak is cello being cello, basset horns finding themselves and all three instruments moving toward unity in sound. This is music that invites us to join three fabulously skilled instrumentalists in the long process of learning to hear as Radigue hears, an awesome journey of discovery.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Guillaume Belhomme<\/span><\/strong>
\nLe son du grisli
\n12 d\u00e9cembre 2013<\/p>\n

[\u2026] Comme annonc\u00e9 : Curtis, premier et seul \u2013 m\u00eame si l’on cro\u00eet parfois entendre la performance d’un musicien et de son double. Leste, l’archet dit les volumes changeants (ici les insistances, l\u00e0 les suspensions fragiles) d’une musique qui s’invente dans la dur\u00e9e, et plus encore par l’osmose \u2013 toujours dans le livret, Ruyter ne note-t-il pas : \u00ab (…) Naldjorlak (dont le titre, invent\u00e9 par la compositrice en tib\u00e9tain approximatif, \u00e9voque le concept d’union). Les cors de basset suivront les m\u00eames principes, \u00e0 la diff\u00e9rence pr\u00e8s que leur chevauchement dessineront d’autres courbes, arrang\u00e9es toujours en riches parenth\u00e8ses. Entre elles, d’autres sons continus encore, faits de tout ce qui les a pr\u00e9c\u00e9d\u00e9, et s’en nourrissant m\u00eame : lorsque les trois musiciens interviennent ensemble, la supposition tient de l’\u00e9vidence. Ainsi, les mouvements du ballet irr\u00e9solu qu’est Naldjorlak III pensent leurs variations dans le retour de l’antienne insaisissable que fredonne Curtis et dans le souvenir de cors entrant en r\u00e9sonance. Toujours en cause, l’osmose plus t\u00f4t sugg\u00e9r\u00e9e, et pour cons\u00e9quence maintenant : la p\u00e2moison.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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