The two programs - “Outside” and “Inside” - are in conceived in relations with each other but can also be presented separetely. The first is an investigation over Africa, its rythms and suggestions, leading to Bartók, Ligeti, Debussy and a newly commissioned piece. Music created by external impressions - “Outside”- from folkloric traditions from the most. The second program creates a different dialogue between Bartók and Debussy, this time putting in relations works recalling memories from the past or the imaginary – from “Inside” - presenting more of a common ground than one might expect.
1. Africa, percussions, “outside"
- I half -
Jali, from "Studies in African Rhythm":
Okoye, from "Studies in African Rhythm"
From Piano Etudes:
- VIII. "Fém"
- V. "Arc-en-ciel"
- III. "Touches bloquées"
- XI. "En suspens"
- IV. "Fanfares"
Piano sonata, SZ. 80
- II half -
- New commission (probably Silvia Borzelli)
- Children's Corner
- L'Ile Joyeuse
2. What becomes, "inside”
- I half -
Selections from Bagatelles op. 6 Sz.38
"What Becomes" (in 7 mouvements)
- II half -
Préludes, Livre I
A series of compositions creating a bridge connecting Africa to occidental classical music. They explore rythms, folkloric traditions or the idea that Europe had of the African continent until last century. They not only takes ispiration by exterior elements but also are very much “outwards” in terms of character and language.
Onovwerosuoke’s studies are wrote on a similar research field than the one of Bartok’s trascriptions of folkloric melodies and rythms. In the Allegro Barbaro, the Sonata, and the two Onovwerosuoke’s studies, the percussive and rythmical element has a great deal of importance.
Of even further evidence are the symilarities with Ligeti, one of Bartòk direct musical successors. Especially in some of his Études Ligeti explored African irregular rythmicaly patterns. The relation becomes suprisingly clear when listening to “Fém” right after Onovwerosuoke, third and fourth work of the program.
The second half opens with a newy commissioned piece, intending to be a further reflection over integrating exterior elements into music, as well as a transition towards Debussy.
The works of french composer presented here show other possible sides and relations to Africa: the cake-walk in “Children’s Corner”, first impressions over jazz and on africans forced to move and adapt to the western civilizations , “Masques”, in my personal imaginary a possible homage to African art, and “Ile Joyeuse”, a dreamy travel to an Island of the Ancient Greece and the Mediterreanean Sea. This sea which is centre of our cultures and first connexion between the two continents, or using Alexander Pope’s words: “"..and seas but join the regions they divide".
On this program I present works exploring the memory, what comes from “Inside”. There are as many exterior influences as in the other but elaborated in a somewhat less definible way, in a more intimate and poetic effort – meaning that they’re metaphore of what they were in origin.
Bartòk’s Bagatelles are a turning point in its production, opening doors towards Debussy, folkloric music, popular songs, children games, exc.
Larcher’s “What becomes” is a work with a great varieties of langauges and tones, by one of the major living composer. It’s a series of impressions, from chidhood to mouvement in itself, alternating contemplative moments to more innovative and virtuosistic techniques, maintaining always great expressivity and communicative qualities.
In the second half a masterpiece such as Debussy’s Préludes marks the final point and resume all listened until now.