This is my initial encounter with Canadian pianist Brigitte Poulin who, besides being a refined soloist, is also active as a chamber musician and vocal accompanist tackling many kinds of repertoire “from the invention to the deconstruction of the piano”, as per biographic notes. Not a surprise then that she got a doctorate in interpretation of contemporary piano literature at the University of Montréal. Édifices naturels is an absorbing collection in which she executes pieces by four young composers — James Harley, Ana Sokolović, Denys Bouliane and Paul Frehner, all of them perfect strangers to this writer (mea culpa). There seems to be a sort of aesthetic continuity among these scores, whose stylistic range comprises graceful elegies, dissonant eruptions, hints to Chick Corea circa Children Songs and materials at the border with pure improvisation. Poulin’s approach with the program is characterized by zeal and elegant restraint at once, her phrasing releasing scents of awareness, a degree of nostalgia for the past, the grief-stricken consciousness of an impossible-to-relive atmosphere. The impressive aspect of this woman’s style is that both impetus and rarefaction appear to be factors of a same equation, the music wrapped by an aura of longing that lets us soak up even the most convoluted segments with contentment, the level of sober musicianship high throughout, a lovely feminine sensitiveness perceptible ever since the very first tones of each composition. This was a much welcomed soundtrack for a dismal November evening.

Pianista canadese di rara sensibilità ed apertura, Brigitte Poulin con questo suo primo lavoro solista propone una sorta di “collezione” di musicisti contemporanei che possano valorizzare al massimo il suo pianismo inquieto e proteiforme. I primi due movimenti sono riservati all’omonimo Edifices (naturels) di James Harley composizione che prende lo spunto dai paesaggi montuosi di Bryce Canyon. Atmosfere tardo novecentesche che incrociano l’espressionismo di marca shcoemberghiana con brandelli melodici più vicini alla scuola francese post-Satie. Più frastagliate ed eclettiche le Danses et interludes di Ana Sokolović strutturate in undici movimenti dalla difficile catalogazione se non quella di un utilizzo pieno della scala cromatica (i serrati fraseggi sulle note acute del quarto movimento restano memorabili) così come l’ostinata ricerca sospesa tra piano e pianissimo del quinto senza per questo rinunciare a quelle tonalità più alte, vera e propria caratteristica della compositrice serba. Contredanse du silène Badouny del canadese Denys Bouliane sviluppata in un unico movimento che dilata parossisticamente un tema basato su sedici note, presenta cadenze ritmiche molto ben marcate e sempre contraddistinte da un’incombente atonalità. Conclude l’album Finnegans Quarks Revival di Paul Frehner, (trentottenne musicista di Montréal). E’ la composizione più recente (2005-7) presente nel dischetto dove, accanto ad un indubbio virtuosismo viene tematizzata un evidente recupero della componente melodica che si articola in cromatismi ricchi di pathos. Insomma Edifices naturels si configura come un’opera prima dall’indubbio spessore artistico sia perché permette di incontrare le capacità interpretative di questa giovane pianista sia per lo sguardo che ci permette sul panorama attuale della musica colta.

La pianiste montréalaise Brigitte Poulin interprète pour nous les œuvres de quatre importants compositeurs canadiens. James Harley, Ana Sokolović, Denys Bouliane et Paul Frehner prêtent ainsi leur musique à cette interprête de grand talent qui évolue avec brio dans les nombreuses sphères de son instrument. Elle explore en effet avec beaucoup d’à-propos les “édifices naturels” construits pas ces créateurs. D’une écoute facile, ce disque est un bel exemple d’une musique qui, malgré sa complexité, ne devient pas hermétique.

Poulin is a classically trained pianist. Her repertoire covers all relevant periods, but she feels strongly attracted to modern classical music. Because of this she founded Trio Phoenix (flutes, cello and piano), an ensemble entirely dedicated to new music. Besides she worked with a great diversity of musicians and ensembles. “For a decade, Brigitte Poulin has been commissioning and premiering works by composers who, she thought, could help better define our own piano culture.” From this experience she choose four recent works that found their way to this CD: James Harley’s Édifices Naturels (2000), Ana Sokolović’s Danses et Interludes (2003), Denys Bouliane’s Contredanse du silène Badouny (1998) and Paul Frehner’s Finnegans Quarks Revival (2005-07). At the same she introduces four composers that were unknown to me… The composition by Harley consists of two parts. The first one bursts of energy. The second one is quiet and calm. The composition of Ana Sokolović is inspired on Balkan dance music. It consists of six dances and three interludes. As you can imagine rhythm is a dominant aspect here. The short work by Bouliane is a very ingenious and subtle composition. Finnegans Quarks Revival by Frehner is the longest work of the four. In eight parts this work evokes very different moods during its 35 minutes. Poulin’s choice offers a good insight into the richness of modern composed piano-music, and in Poulin we meet an accomplished and warm-hearted musician.