actuellecd

Cage

Quartetski / John Cage

[…] incredibly sensitive, reverent, a feeling of patient conjuring without the intent of finishing anything to term. The Squid’s Ear, ÉU

The performers’ sounds, timbres, and colours are well-chosen and make a beautiful spectrum. Vital, Pays-Bas

Cage, le quatrième album du groupe sur Ambiances Magnétiques, est à la fois entièrement conforme à l’éthos du groupe et un renouveau radical. Ceux qui sont familiers avec l’ensemble du travail de Pierre-Yves Martel - avec ou sans les piliers du Quartetski, Philippe Lauzier, Bernard Falaise et Isaiah Ceccarelli - reconnaîtront dans ces pièces, Four6 et One7, des qualités qui caractérisent sa propre musique plus directement que les excellentes parutions précédentes du groupe: une création sonore délibérée, une attention aux sons dans leurs multiples richesses, l’espace et un esprit calme de découverte. Et pourtant, comme tous les projets du Quartetski, Cage déclare sa fidélité à la vision radicale de son homonyme. De cette façon, en soulignant les affinités partagées par les interprètes et le compositeur, il s’agit peut-être du disque le plus ‘personnel’ de Quartetski, mais il atteint cette condition, paradoxalement, en purgeant le personnel, en débarrassant cette musique de l’ego d’une manière fort satisfaisante et tout à fait typique de Cage. — Scott Thomson (Traduction française: Léa Derome Hétu)

  • SODEC

CD (AM 264)

  • Étiquette: Ambiances Magnétiques
  • AM 264
  • 2021
  • UCC 771028126422
  • Durée totale: 60:07
  • Boîtier sympathique
  • 126 mm × 126 mm × 5 mm
  • 35 g

Sur le web

Téléchargement (AM 264_NUM)

Notes de programme

Four6

Pour toute manière de produire un son (vocalisation, chant, instruments, électroniques, etc.)

Choisir douze différents sons aux caractéristiques stables (amplitude, spectre harmonique, etc.). Jouer dans les fourchettes de temps indiquées par les crochets. Quand celles-ci sont reliées par une ligne diagonale, elles sont plutôt proches l’une de l’autre. Quand la pièce est jouée par un seul musicien, la partie 1 est utilisée et la pièce s’intitule alors One7.

Pour Pauline Oliveros, à l’occasion de son 60e anniversaire, et pour Joan La Barbara, William Winant et Leonard Stein.

[iii-92]

One7 (pour quatre interprètes)

Pour tout instrument à hauteur déterminée qui peut jouer des notes soutenues.

Chaque musicien génère une série chromatique de tons par des opérations de hasard. Les quatre musiciens utilisent la partie 1 et jouent dans les fourchettes de temps indiquées par les crochets. Les registres ne sont pas fixes. Les musiciens pensent et agissent comme une même personne, jouant ensemble autant que possible, ou pas.

Pour Joane Hétu et Danielle Palardy Roger.

[ix-21]

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Review

Dave Madden, The Squid’s Ear, 22 août 2022

Where much music places the composer, their vision and their efforts to clarify every scratch on the page the center of the universe, John Cage eschewed the authoritative narrative — particularly in his latter-years — to promote a natural, not strict, order. It’s like asking someone “be yourself” instead of forcing them to smile or act in front of a camera while also offering a pep talk to influence the desired result. Further, though, the goal is to “insert the individual into the current in which everything passes.”

Having previously reimagined Prokofiev, Le Sacre du printemps and Bartók’s Mikrokosmos, the Quartetski collective aim their talents at Cage’s Four6, an aleatoric process focused on the initial selection of twelve sounds with “fixed characteristics (amplitude, overtone, structure etc.) “ These are progressed per several time brackets found on the player’s scores (each player has a different sheet); a diagonal line connecting multiple time brackets indicates that interactions should occur more frequently.

The realization here by Isaiah Ceccarelli on percussion and synthesizer, Philippe Lauzier on bass clarinet and synthesizer, guitarist Bernard Falaise, and Pierre-Yves Martel on electric bass is, not surprisingly based on the œuvre of these four gentlemen, is incredibly sensitive, reverent, a feeling of patient conjuring without the intent of finishing anything to term. Stepping into the “For any way of producing sounds” directions, the group adopts a loose focus on the lugubrious: a deep bass clarinet tone with a pleasing intro and bratty overblown honk is enlarged with an amplified bass note, which subsequently fills the speakers; arrhythmic taps on metal played to technically be defined as “sustained”; Falaise gently wringing his guitar’s neck into earthquake tremors. The synthetic sounds range from ruminating, dripping blobs one associates with modular synthesizer, musically complete textural environments, and “sour” organ prelude in the vein of Kali Malone and FUJI|||||||||||TA.

Seemingly intentional, a good number of Cage interpretations purposefully translate as sunny and mild-mannered as the man’s spirited laughter and smile, Quartetski’s Four6 is tense and spooky. Some of the twelve sounds involve (satisfying) electric guitar extended techniques and aforementioned warbling synthesizer gestures; even the cooing bass clarinet tags the end of long, passive sustained notes with a bratty overblown hiccup. I was immediately struck with how it crawls in the same ritualistic way and sonically (timbre) echoes Stockhausen’s 1968 work Aus den sieben Tagen, a piece whose text-based score provides details to guide the player to “Intuitive music” (“instant creation in which fixed principles or rules may or may not have been given”). That work exudes a mysterious sinisterness where it’s unclear if one should run or grab a blanket; am I hearing creation or prolonged destruction of the universe? It is sublimity — in the truest sense of the word — and the furrowed brow with intent stare of Stockhausen.

Per Cage’s side-bar on Four6: “When performed as a solo, the first player’s part is used and the piece is called One7.” Per Quartetski (Martel): “For any pitched instrument able to play sustained notes… each player derives a chromatic tone row obtained using chance operations.” Though obviously not a solo, this second work holds to Lauzier’s (player one) initial bass clarinet gesture as the other three members restrict their movements and in turn have less accidental exchanges (i.e. happenstance chords) than the previous piece. Instead of slightly deviating as on Four6, the formal connection now seems both united and independent with each player supporting and handing off the same line in a Klangfarbenmelodie fashion. The long notes move like rock climbing where the lead carefully scales, thoughtfully pauses to set a purchase for those below who are also working to keep the first guy secure, repeat until finished all while holding the same rope/lead.

The lesson one learns from Cage — when performing Cage — is that the freedom implied from a lack of dynamics, instrumentation etc. on the page can become an unforgivable obstacle in the conservative musician’s mind. When my undergraduate score analysis class was presented with one of the man’s works (missing the instructions and author’s name), we stared intently for an hour trying to envision how a performance of graphs and squiggly numbers could hold interest to anyone. Based on Quartetski’s endeavors, the problem was we 18th Century harmony, cadence and meter-obsessed students. Cage’s is as elegant as those playing and respecting it. Quartetski just happens to be naturally photogenic.

[…] incredibly sensitive, reverent, a feeling of patient conjuring without the intent of finishing anything to term.

Review

Dolf Mulder, Vital, no 1338, 31 mai 2022

Quartetski was formed in 2007 by Pierre-Yves Martel “as a vehicle to rethink and reinterpret the works of great composers through the lens of creative improvised music”. So far, Martel and his companions realized projects focused on the works by Prokofiev (2007), Stravinsky (2013) and Bartók (2016). Choosing Cage for their new project, the decision for a very different kind of a composer compared to the three predecessors. They chose two compositions belonging to a body of about forty works called Number Pieces composed by Cage in his last years. Each work is titled after the number of performers that are involved. One7 is the seventh work for one performer, Four6 is the sixth work for four performers, etc. Both are not written for specific instrumentation and are dedicated to composer and accordionist Pauline Oliveros, a.o. I don’t know any other recordings of these works and can’t make any comparison. But the fact that they perform One7 as a quartet may be one of more decisions that make their approach different from others. Anyway, we have Isaiah Ceccarelli (percussion, synthesizer), Philippe Lauzier (bass clarinet, synthesizer); Pierre-Yves Martel (electric bass, sine waves) and Bernard Falaise (electric guitar) at work here in an intriguing rendition of both pieces. They play a limited set of patterns interspersed with pauses of different lengths, which evokes the impression of a random-like sequence. Pointillistic, non-intentional dots of sound pass by, but it is evident that something is at work in these works that gives them a fascinating (dis)continuity. The movements are fragile and delicate, always very modest. The performers’ sounds, timbres, and colours are well-chosen and make a beautiful spectrum.

The performers’ sounds, timbres, and colours are well-chosen and make a beautiful spectrum.

Review

Andrew Timar, The WholeNote, no 27:6, 21 avril 2022

In the last years of his prolific creative life, iconic experimental composer John Cage (1912-1992) composed some 40 number pieces. For titles, he coined a unique system in which numbers indicate the number of performers or the number of instrumental parts in each work. Superscripts were added when compositions shared the same number of performers.

Cage’s notation of these pieces features two time-based categories: fixed and flexible “time brackets.” Fixed-time brackets indicate when the musician/s should precisely begin and end a tonal event. Flexible-time brackets however, allow musicians choice in the matter, admitting into the performance, a) chance and b) the anarchic harmony of sounds and silences simply co-existing, two key Cagean notions.

Both works on this album belong to that corpus. One7, “For any pitched instrument able to play sustained notes,” is the seventh piece in a series of compositions for one musician. Except, in this performance the polished Montréal group Quartetski have decided to interpret the open score with all four member musicians: Isaiah Ceccarelli (percussion, synthesizer), Bernard Falaise (electric guitar), Philippe Lauzier (bass clarinet, synthesizer) and Pierre-Yves Martel (electric bass, sine waves).

Four6, also for unspecified forces, also lasts a leisurely half hour. The four musicians are asked to “Choose 12 different sounds with fixed characteristics (amplitude, overtone structure, etc.) ” producing a mellower soundscape than the dramatic musical moments generated in One7.

Quartetski’s nuanced realization of these two autumnal Cage works admirably animates the scores, imbuing individual character which belies their apparent abstract appearance. Marked by attention to timbral richness well-represented by this refined recording, the quartet displays a spirit of sonic discovery that’s aurally refreshing while respecting the composer’s musical aesthetics.

… the quartet displays a spirit of sonic discovery that’s aurally refreshing while respecting the composer’s musical aesthetics.

Kritiek

Ben Taffijn, Nieuwe Noten, 2 avril 2022

De invloed van John Cage op de hedendaags gecomponeerde muziek kan moeilijk worden overschat en in tegenstelling tot veel andere grote namen uit de vorige eeuw wordt zijn muziek nog opvallend vaak uitgevoerd, met als hoogtepunt de vorig jaar verschenen box van Apartment House met daarop alle zogenaamde ‘Number Pieces’, uitgebracht door Another Timbre. Maar er is meer. Ook Quartetski bracht onlangs twee ‘Number Pieces’ uit, bij Ambiances Magnétiques, te weten Four6 en One7 en bij Naxos verscheen vorig jaar de Cd American Percussion Works waarop Percurama onder andere ‘First Construction (in Metal) ’ uitvoert.

Apartement House nam dertien stukken op, ze komen hier morgen aan bod, in een bezetting tussen vijf en dertien leden (het eerste getal van de ‘Number Pieces’ duidt op het aantal uitvoerenden, het tweede op de volgorde binnen de stukken voor die bezetting. ‘Four6’ is dus het zesde stuk in een bezetting voor vier musici), Four6 en One7 vallen daarbuiten. Soms schreef Cage een stuk specifiek voor een instrument, meestal liet hij het echter open, iets dat ook geldt voor de twee stukken die Quartetski hier uitvoert. Four6 dat hij schreef in 1992, het laatste jaar van zijn leven heeft als aanduiding ‘four performers’. Het geeft dit bijzondere kwartet, bestaande uit percussionist Isaiah Ceccarelli, rietblazer Philippe Lauzier, Pierre-Yves Martel actief in de weer met de viola da gamba en diverse objecten en gitarist Bernard Falaise, de mogelijkheid Cage’ materiaal maximaal naar hun hand te zetten. De combinatie van percussie, objecten en rietblazers, viola da gamba werkt perfect, evenals die van akoestische en elektronisch, de elektrische gitaar van Falaise. One7, uit 1990, was dus bedoeld voor één instrument, keuze vrij. Dit kwartet houdt zich er niet aan, al klinkt het hier wel als een onlosmakelijke eenheid, waarbij met name die prachtige wolken van klank opvallen. Niet helemaal conform Cage’ wil, maar wel heel mooi gedaan.

Ce quatuor […] sonne ici comme une unité inséparable, les magnifiques nuages de sons étant particulièrement frappants.