01 Dawnlight, for flute-piano-violin-cello-elec (2015) ...... 19:58 02 Noir gris, for string trio (2007) ................................ 06:24 03 Dog eat dog, for cello and guitar (2014) ................... 05:13 04 Terra d'ombra, f. piano, harp and cello (2012-15) ...... 11:00 05 Gone, clarinet, piano, string trio and elec (2010) ....... 20:33
Ensemble Cairn, Jérôme Combier artistic director
Il y a des musiques qui affirment et triomphent. D’autres suggèrent une distance, un voyage en douceur vers les lointains. Jérôme Combier est de cette race vagabonde. Sa musique plonge le spectateur dans une atmosphère profonde et raréfiée, dense d’apparitions multiples, fantomatiques, qui libèrent l’imagination. Ici ou là une ligne d’ombres s’immisce entre les voix réelles, comme venue de nulle part. D’emblée, la musique de Combier ruine les repères de hauteurs, les distinctions entre sons, souffles et frottements, creusée par l’électronique, et étroitement connectés à des pluies de sables, à des rumeurs de vent… L’électronique a cette fonction. Elle érode le sonore porté par les instruments, elle dilue harmonies et échelles dans des saturations douces, des sons chargés de grain. Les oeuvres réunies dans cet album nous plongent dans une lueur diaphane. Elles sont servies par le nec plus ultra de la musique de notre temps.
... There are music that assert and triumph. Others [other kinds of music] suggest a distance, a smooth journey to far-offs. Jérôme Combier is of this wandering race. His music plunges the viewer into a deep and rarefied atmosphere, dense with multiple, ghostly appearances, which free the imagination. Here and there a line of shadows creeps in between the real voices, seemingly out of nowhere. From the outset, Combier's music ruins the benchmarks of heights, the distinctions between sounds, breaths and friction, hollowed out by electronics, and closely connected to rains of sand, to rumors of wind... Electronics have this function . It erodes the sound carried by the instruments, it dilutes harmonies and scales in soft saturations, sounds loaded with grain. The works gathered in this album plunge us into a diaphanous glow. They are served by the ultimate in music of our time.
... Есть музыка, которая утверждает и побеждает. Другая музыка предлагает расстояние, плавное путешествие вдаль. Жером Комбье принадлежит к этой расе странников. Его музыка погружает зрителя в глубокую и разреженную атмосферу, насыщенную множеством призрачных явлений, которые развязывают воображение. Кое-где полоса теней пробирается между реальными голосами, словно из ниоткуда. С самого начала музыка Комбье разрушает эталоны высоты, различия между звуками, дыханием и трением, выдолбленные электроникой и тесно связанные с песчаными дождями, со слухами о ветре... Электроника это умеет делать. Она разрушает звук, передаваемый инструментами, она разбавляет гармонии и гаммы мягкими насыщениями звуками, наполненными зернистостью. Работы, собранные в этом альбоме, окунают нас в прозрачный свет. Их исполняют лучшие в музыке нашего времени.
Jérôme Combier (b. 1971) | ensemble-cairn.com
Jérôme Combier began studying composition, harmony and counterpoint, analysis and orchestration under Hacène Larbi. He won first prize for counterpoint at the Conservatoire of Rueil-Malmaison. In 1997, he was admitted to the Paris Conservatoire in the class of Emmanuel Nunes. In addition, he completed a Master’sdegree with a dissertation on Anton Webern at Paris VIII University. In 1995, he was a finalist in the Griegselskalpet competition in Oslo. In September 1998, he was residentat the Royaumont Foundation and in the framework of an exchange with Royaumont, he was a composer in residence in Japan, in Akiyoshidaï for two months. In 2001, he was selected to enter the programme in composition and computer-assisted music organised by IRCAM.
Jérôme Combier is a prize-winner of the Bleustein-Blanchet Foundation and the Pierre Cardin Foundation. In 2002, he was commissioned by Radio-France to write a piece for the Orchestre National de France, Pays de vent. In 2003 and 2004, with the support of the Paris Conservatoire, he organised concerts and courses in Uzbekistan and Kazakhstan. From 2004 to 2006 he was a scholarship holder at the Villa Medici (the French Academy in Rome). During this time he met Raphaël Thierry who was to realise the visual installations for the cycle Vies silencieuses written for the Ensemble Cairn. The cd Vies silencieuses won the Grand Prix Charles Cros.
In 2005 he composed music for the Ensemble Recherche in the framework of the Festival d’Automne in Paris. In collaboration with Pierre Nouvel, he created the installation Noir Gris for the Beckett exposition organised by the Centre Georges Pompidou. Since 2006, he has been invited regularly by the Festival d’Aix-en-Provence to contribute as a guest to the Académie européenne de musique’s activities and in 2011, in association with the video artist Pierre Nouvel, he imagined the Opéra Austerlitz based on the novel by W.G Sebald. Austerlitz was produced by the Festival d’Aix-en-Provence, the Opéra de Lille and the Kaaitheater of Brussels. In 2008 is invited as composer teacher in Royamont abbey. In 2009 is obtain a commission by Le Musée du Louvre during the cycle of concerts Le Louvre invite Pierre Boulez. His piece, Anima Foglia for violin, is played also at Lucern Festival. In 2012, the Opéra de Lyon commissioned an opera based on the novel Terre et cendres by the afghan writer Atiq Rahimi.
His music is published by Henry Lemoine and by Verlag Neue Musik Berlin. Some of his works have already been recorded by the Ensemble Cairn on the Motus label and Aeon.
Some ultra-contemporary composers write music so timbrally striking that the once sharp divide between electronic and instrumental music is radically blurred. Ensemble Cairn negotiates the realms of color and shadow and creates a unerringly vivid picture of such a music, the music of Jerome Combier. Gone (Aeon AECD 1651) brings to the listener a program of five Combier compositions that challenge our everyday assumptions of what instruments are "supposed" to sound like, and, for that matter how they are supposed to interact with electronic sounds.
The chamber plus electronic pieces form the beginning and end points of the album, but the middle works are no less exploratory in their compelling acoustical mass. Ensemble Cairn forms a mid-sized chamber ensemble, or a mini-chamber orchestra. There is a flautist, a clarinetist, pianist, guitarist, harpist, and a string quartet altogether.
The various Combier works call for various instrumental combinations, making entirely coherent demands on the players in a body of extended techniques, all of which results in a series of stunning sound-color sculptures.
"Dawnlight" (2015) opens the program with a long sound tapestry for flute, piano, violin, cello and electronics. This is music that travels beyond tonality or its lack to enter complex relationships between clearly pitched, sonically complex multiple pitch emanations and relatively unpitched percussive outbursts. One might say the same for all the works in this program.
In fact the huge potential vocabulary of electronic sounds matches the sonic variabilities of the instrumental utterances in brilliantly contrasting groupings and unexpected regroupings.
The middle part of the program brings three purely instrumental works to our ears. "Noir gris" (2007) for string trio, "Dog eat dog" (2014) for cello and guitar, and "Terra d'ombra" (2012-2015) for piano, harp and cello each has a unique and startling sonance. There are rich universes of dramatically narrative timbral relationships that unfold with unexpected and endlessly fascinating regular-irregularity.
Finally the 20-minute title work "Gone" (2010) for clarinet, piano, string trio and electronics unleashes the most sustained new timbral world of all. There are few living composers that could match this work for its startlingly inimitable palette of sounds and sequences.
In short Jerome Combier in Gone brings us signature high-modernist music with a brilliance that is virtually unparalleled in new music today. Ensemble Cairn brings their considerable contemporary technical prowess to bear on some of the most challenging instrumental works extant. They make of each of them a poetic totality, a remarkable achievement. Most importantly they bring us a beautiful realization of Jerome Combier's considerably prescient musical vision.
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