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Louth Contemporary Music Society is delighted to release the single track CD of Jürg Frey's beautiful work, I Listened to the Wind Again, for soprano, clarinet, violin, viola, cello and percussion. There are things - the leaves of a tree, the seconds of our lives, the slates on a warehouse roof - that are as numerous as droplets in 'a rain as soft as a mist', to quote Jürg Frey's text for his I listened to the wind again, which he wrote for the LCMS festival of 2017. These are the infinities of this world, and generally they pass us by, because they are everywhere, or because we have not the focus to be still and observe each particular. Frey may teach us that focus. It may be a matter, listening to this small richness of instruments (clarinet, string trio and percussion) that joins the voice, of sensing how a note on the viola differs from the same note played on the violin, or to how an interval on these two instruments changes when they exchange notes. It may be a matter of recognizing how a word, joining the soft rain of instrumental sounds, may cause them to change, even bring them into alignment with it, or expressive conformity. It may be a matter of feeling how the colour and the texture of the ensemble shift, and return, and do not return. It may be a matter of experiencing sound from the inside, existing in the air we breathe, and from the outside, placed over there, where the musician is, just as the words seem to move from inside (in English) to outside (in French).
Louth Contemporary Music Society is delighted to release the single track CD of Jürg Frey's beautiful work, I Listened to the Wind Again, for soprano, clarinet, violin, viola, cello and percussion. There are things - the leaves of a tree, the seconds of our lives, the slates on a warehouse roof - that are as numerous as droplets in 'a rain as soft as a mist', to quote Jürg Frey's text for his I listened to the wind again, which he wrote for the LCMS festival of 2017. These are the infinities of this world, and generally they pass us by, because they are everywhere, or because we have not the focus to be still and observe each particular. Frey may teach us that focus. It may be a matter, listening to this small richness of instruments (clarinet, string trio and percussion) that joins the voice, of sensing how a note on the viola differs from the same note played on the violin, or to how an interval on these two instruments changes when they exchange notes. It may be a matter of recognizing how a word, joining the soft rain of instrumental sounds, may cause them to change, even bring them into alignment with it, or expressive conformity. It may be a matter of feeling how the colour and the texture of the ensemble shift, and return, and do not return. It may be a matter of experiencing sound from the inside, existing in the air we breathe, and from the outside, placed over there, where the musician is, just as the words seem to move from inside (in English) to outside (in French).
5052442020806

Details

Format: CD
Label: IMPORTS
Rel. Date: 10/08/2021
UPC: 5052442020806

I Listened To The Wind Again (Uk)
Artist: Helene Fauchere / Robinson,Carol / Chabot,Nathalie
Format: CD
New: Available $19.99
Wish

Formats and Editions

DISC: 1

1. I Listened to the Wind Again

More Info:

Louth Contemporary Music Society is delighted to release the single track CD of Jürg Frey's beautiful work, I Listened to the Wind Again, for soprano, clarinet, violin, viola, cello and percussion. There are things - the leaves of a tree, the seconds of our lives, the slates on a warehouse roof - that are as numerous as droplets in 'a rain as soft as a mist', to quote Jürg Frey's text for his I listened to the wind again, which he wrote for the LCMS festival of 2017. These are the infinities of this world, and generally they pass us by, because they are everywhere, or because we have not the focus to be still and observe each particular. Frey may teach us that focus. It may be a matter, listening to this small richness of instruments (clarinet, string trio and percussion) that joins the voice, of sensing how a note on the viola differs from the same note played on the violin, or to how an interval on these two instruments changes when they exchange notes. It may be a matter of recognizing how a word, joining the soft rain of instrumental sounds, may cause them to change, even bring them into alignment with it, or expressive conformity. It may be a matter of feeling how the colour and the texture of the ensemble shift, and return, and do not return. It may be a matter of experiencing sound from the inside, existing in the air we breathe, and from the outside, placed over there, where the musician is, just as the words seem to move from inside (in English) to outside (in French).

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