Solos: Félicie Bazelaire, Ferran Fages

Tuesday 26 March 2019

I’ve been listening to some new releases by d’incises, working in collaboration with various composers and musicians. (This is the guy who’s part of the Insub Meta Orchestra.) L’épaisseur innombrable is described as a “double bass solo by Félicie Bazelaire, based on a composition by d’incise”, which suggests a more esoteric process of transformation than a simple transcription or arrangement. (The packaging tells us nothing more than the above quote.) A thirty-six minute double-bass solo, L’épaisseur innombrable maintains a consistent level of activity throughout, inviting comparisons to Stefano Scodanibbio’s solo pieces or Hanne Darboven’s Opus 17a. Unlike these two examples, Bazelaire does not give us constant, motoric activity. Much of the piece maintains a steady alternation of long and short, like a heartbeat. On one level, it’s soothing; paying closer attention unmasks darker undercurrents, the alternating harmonies by turns wistful and portentous. Later, the pace broadens out further into sustained tones, a glacial rallentando. Bazelaire’s realisation of this piece creates the skeletal outline from some long-lost slow movement from the late romantic era.

I got some exciting new releases from Another Timbre but I first have to give some time to Ferran Fages’ CD from the end of last year, Un lloc entre dos records. Fages plays his own composition for solo acoustic guitar and sine tones. It took me a while to come around to this one. I’ve heard a few great recordings in recent years by Cristián Alvear and Clara de Asís, playing severe, restrictive compositions for the guitar. Perhaps keeping those in mind a little too much made this piece seem to not quite gel for a while. Unlike, say, a piece by Alvin Lucier, guitar and sine tones are kept separate – no psychoacoustic trickery to enjoy here. After an opening section of widely spaced dissonances (semitones displaced across octaves à la late Feldman) a long passage of sustained sine tones reduces the harmonic and timbral palette to almost nothing. The guitar resumes, with strummed, dense, unresolved chords. The mind struggles to reconcile the parts into a whole. This piece is part of a trilogy exploring different guitar tunings, and Fages refers to Feldman in his other pieces in the series. Feldman worked in a subjective way that resisted an overall logic, but his audience has now become accustomed to his way of listening. Un lloc entre dos records suggests a new type of listening at play and, despite the Feldman references, Fages’ piece suddenly became more sympathetic when recognising the connections to the type of wandering aesthetic heard in some of Jürg Frey’s solo pieces such as guitarist, alone. Fages approach comes from the inside, as a guitarist, with a more forthright harmonic language made from the retuning of open strings.