The New & Avant-garde Music Store
DAME’s Annual Happy Holidays Sale! — Up to 50% off on 142 records Until January 7th, 2020 — Click to see

Bruiducœur, prières des infidèles Danielle Palardy Roger

Prix Opus 2006-07: Disque de l’année — Finaliste

une approche singulière où se mêlent chants grégoriens, voix diphoniques, onomatopée, Sprechgesang et autres effets vocaux… Revue & Corrigée, France

Bruiducoeur is a strong and challenging work. Exclaim!, Canada

Bruiducœur, prières des infidèles: Sacred voices and rebel prayers, Bruiducœur is both a journey through death and a battle against the Dragons of Immortality.

Percussionist and composer Danielle Palardy Roger releases Bruiducœur, prières des infidèles, a new CD on Ambiances Magnétiques.

Bruiducœur, prières des infidèles was recorded live at Espace GO in Montréal, on June 3, 2004. Its stage version underwent a few changes to improve its qualities and sound dynamics: careful editing and layering techniques allowed to keep the whole work, while shortening it, duration wise.

An account of a man’s last agonizing moments, Danielle Palardy Roger’s Bruiducœur, prières des infidèles is a secular ritual involving three characters: HIM, who is dying; HER, the ironic observer; the CHOIR and SOLOISTS, empathic and omnipresent.

Written for a 13-voice mixed choir (conducted from the inside), two speakers, two soloists, and two percussionists, this satirical elegy in 13 tableaux follows the oratorio form and brings together sung, proclaimed and chanted poetry, composition and improvisation. Sitting at the heart of this work, phonetic articulation and vocalism carry the meanings and express the feelings.

To bring this major work to life, Danielle Palardy Roger drafted a group of experienced musicians. VivaVoce is known for its quality interpretations of music dating from the Renaissance to our days. Here, the choir thrusts and bites into the music with great virtuosity. Master actors Danièle Panneton and Jacques Piperni eloquently give life to the libretto. DB Boyko and Christine Duncan lead the choir through improvisations and add their unique noise experiments to the music, while impertinent percussionists Patrick Graham and Jean Martin play the Time Keepers.

Bruiducœur, prières des infidèles originated from a composition residency at Vancouver’s Western Front in the summer of 2002. This work proceeds from a method applied in three previous productions: the musical tale L’Oreille enflée (1990), the musical theatre Candide sur une toupie (1994) and most importantly the solo performance Le Voyage en Aphasie Mineure (1998), where the exploding language represents an intense realm of communication, one of the composer’s main concerns. Roger is a versatile artist whose projects have consistently brought her back to text, song and declamation. Bruiducœur illustrates how important that aspect is in her work taken as a whole.

Danielle P. Roger

Bruiducœur, prières des infidèles

Danielle Palardy Roger

Some recommended items

In the press

  • Zdenek Slaby, Unijazz, December 1, 2006
  • Paul Bijlsma, Phosphor, no. 120, August 1, 2006
  • Pierre Durr, Revue & Corrigée, no. 68, June 1, 2006
    une approche singulière où se mêlent chants grégoriens, voix diphoniques, onomatopée, Sprechgesang et autres effets vocaux…
  • Nilan Perera, Exclaim!, April 10, 2006
    Bruiducoeur is a strong and challenging work.
  • Nicola Catalano, Blow Up, no. 95, April 1, 2006
  • Dolf Mulder, Vital, no. 515, March 3, 2006
  • Gabriel Bélanger, SOCAN, Paroles & Musique, March 1, 2006
    Une œuvre très achevée de la «battante» de la musique actuelle.
  • François Nadon, Ici Montréal, January 26, 2006
    C’est un album surprenant qui mérite qu’on lui dédie une oreille curieuse et ouverte.
  • François Nadon, Ici Montréal, January 26, 2006

Review

Paul Bijlsma, Phosphor, no. 120, August 1, 2006

Written for two narrators, two soloists, to percussionists and a thirteen-piece self-conducted mixed choir, this album is an highly emotional mixture of opera and experimental text declarations. This Montréal-based composer tells a story abot Lui, who is dying, scared and delirious, Elle, who acts as an ironic witness and Choir, who represent the others that will die one day. The interaction beween these groups can be considered Meredith Monk meeting ritual chants and chamber music neeting zen improv acoustics. Such projects can’t be heard often, an interesting mixture of styles and ingredients. Especially the calmer and religious second half of the album is beautiful.

Disques

Pierre Durr, Revue & Corrigée, no. 68, June 1, 2006

Danielle Palardy Roger présente avec Bruiducœur un curieux oratorio. De cette forme musicale, elle conserve une approche religieuse, comme en témoigne la seconde partie de son intitulé: Prières des infidèles, et une mise en œuvre vocal avec un chœur mixte amplifié (VivaVoce) et deux solistes. Deux récitants complètent la palette vocale, tandis que l’accompagnement instrumental, limité aux percussions, est des plus sobres. Mais Bruiducœur prend aussi des allures de poésie sonore, d’improvisations vocales détournant en cela la stricte construction d’un oratorio dont le propos est de confronter un couple, Lui, agonisant, Elle l’observant ironiquement en présence d’un environnement symbolisé par le chœur et les solistes. Cette approche singulière où se mêlent chants grégoriens, voix diphoniques, onomatopée, Sprechgesang et autres effets vocaux, jouant aussi sur les mots et leur sonorité, rend jubilatoire ce Bruiducœur, prières des infidèles, malgré la thématique plutôt morbide.

une approche singulière où se mêlent chants grégoriens, voix diphoniques, onomatopée, Sprechgesang et autres effets vocaux…

Experimental & Avant-Garde: Year in Review 2005

Nilan Perera, Exclaim!, April 10, 2006

Choral music rarely gets let out of the box these days. One gets the odd recording of vocal work that has some interesting directions, but rarely does one get such a tour de force as is presented on this disc. Roger, who is no stranger to text-based work, has created a tale of a man at the end of his life, frightened and half-crazed, attended by a female witness describing his state and the choir and soloists as the society that surround him. The piece itself is composed for 13-piece choir, two soloists, two narrators and two percussionists. A number of things provided me with ways into this work. The repetitive nature of the text brought Steve Reich and Meredith Monk into the picture and the music is somewhat reminiscent of Berio or Ligeti, but more to the point; a lot of it reminded me of what a Diamanda Galas solo might sound like if it was arranged for multiple voices. There are interludes where the soloists improvise like a pack of rabid dogs, as well as beautifully stark ensemble sections that rise and fall like grey cloud. The two percussionists provide segues and accompaniments that provide a near perfect counterpoint to the voices. Bruiducoeur is a strong and challenging work.

Bruiducoeur is a strong and challenging work.

Review

Dolf Mulder, Vital, no. 515, March 3, 2006

Danielle Roger is known for her work with all-women groups like Wondeur Brass, Les Poules and Justine. With these and many other projects she became a leading force as a percussionist and composer in the new music scene of Montréal since early 80s. In recent years she concentrated more and more on composing music. On her new cd Bruiducoeur Roger presents an extensive vocal composition, recorded live in june 2004. It’s a vocal work for two narrators, two soloists, two percussionists and a thirteen-piece mixed choir. An oratorio to be more exact. Not a very regular musical form. I know Florian Fricke of Popol Vuh always wanted to write one. The oratorio is a musical composition that was at his peak in the 17th and 18th century. Most oratorios had religious themes. This seems to be case with Bruiducoeur also as it is subtitled “Prières des infidèles”. “This secular ceremony revolves around three characters: LUI, who is dying, scared and delirious; ELLE, who acts as an ironic witness, describing his fears and his struggle; and the CHOIR and SOLOISTS, empathic, representing us, the others, as we too will die one day.” For full enjoyment of this cd it helps if you understand french, but the booklet helps as it contains the full text in french and english. Voices sing, speak, scream. Sentences, words, but sometimes only syllables, or just sounds. The soloists and narrators do a great job. The whole is sparsely instrumented with percussion. Overall the music is not very melodic. At moments medieval sounding melodies appear at the surface, like in track one and three. Track six starts with mongolian throat overtone singing. In general it is a kind of ‘sprechgesang’ that dominates.

Critique

Gabriel Bélanger, SOCAN, Paroles & Musique, March 1, 2006

La sensibilité ironique de Danielle Palardy Roger s’exprime haut et fort dans cette œuvre divisée en treize tableaux relatant l’agonie d’un homme, notamment dans les tableaux Moimoimoi / Mon amour ou Moissi moisi je vais mourir. La compositrice a écrit son oratorio pour chœur mixte, deux récitants, deux solistes et deux percussions et propose ici une version d’environ une heure, après la création publique datant de 2004. Une œuvre très achevée de la «battante» de la musique actuelle.

Une œuvre très achevée de la «battante» de la musique actuelle.

Compact!

François Nadon, Ici Montréal, January 26, 2006

Cet oratorio de Danielle Palardy Roger est une œuvre singulière qui nous plonge du début des temps jusqu’à nos jours dans notre combat inégal face à la mort. Les voix y sont omniprésentes. Dans cette œuvre où nous retrouvons un choeur mixte amplifié, des récitants, des solistes et des percussions qui viennent ponctuer cette suite, l’écriture et l’improvisation se courtisent sans cesse. Le texte récité est appuyé par des lignes mélodiques, des cris et onomatopées et même des chants d’inspiration grégorienne. Bruiducœur… exige une écoute active afin d’apprécier ses qualités. C’est un album surprenant qui mérite qu’on lui dédie une oreille curieuse et ouverte. 8/10

C’est un album surprenant qui mérite qu’on lui dédie une oreille curieuse et ouverte.

Critique

François Nadon, Ici Montréal, January 26, 2006

Blog

By continuing browsing our site, you agree to the use of cookies, which allow audience analytics.