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  • Jodlowski: Drones; Barbarismes; Dialogue/No Dialogue
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Jodlowski: Drones; Barbarismes; Dialogue/No Dialogue


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Audio CD, August 9, 2011
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Samples
Song Title Time Price
listen  1. Drones - Pour Ensemble de 15 Instruments16:22Album Only
listen  2. Barbarismes - Pour ensemble et Électronique24:42Album Only
listen  3. Dialog / No Dialog - Pour Flûte et Électronique14:45Album Only


Product Details

  • Performer: Sophie Cherrier
  • Orchestra: Ensemble Intercontemporain
  • Conductor: Susanna Mälkki
  • Composer: Pierre Jodlowski
  • Audio CD (August 9, 2011)
  • Number of Discs: 1
  • Label: Kairos
  • ASIN: B005BDZKOM
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #505,509 in Music (See Top 100 in Music)

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2 of 2 people found the following review helpful By scarecrow VINE VOICE on December 18, 2012
Format: Audio CD Verified Purchase
''drones'' here begins fast furioso,like you are already inside the belly of the beast, inside the musical work, the piano, gives off incredible cascades of linear tones, whole-steps, half steps middle register, other instruments join the frukus, the proceedings, then everything slows, like in a play, where the action now catches its breath, there is healthy playfulness here,those low basso tones held for a long time, well a few seconds. . . there are no existential ''gods''''beasts'' summoned as in the post-modernist music of Cendo, or Bedrossian, or Robin, or Dufourt. . .
Here the universe, the gesture of jazz is not far away. . . . something you cannot avoid I suspect, if you are the avant-garde theatre. But the young Boulez was interested in Artaud as well, as Jodlowski here, and his early music was really rather serious, a one on one representation, for the irrational. Well Boulez also had the carnage of WW2 around him for ''inspiration''redemption where Jodlowski really just has the ''unknown neo-liberal opaqueness)hypocrisy) to live with to try to make sense with. . .
Jodlowski likes to play the politics of ''borders'' not insinuating. . . . but situating himself too long in one place. It all works quite well, because his music neatly can transfer, can emigrate between the concert and theatre. . . ''drones'' is a good example. . .
I like it more than ''Barbarismes'' where the title itself suggests, demands that the irrational be summon within the proceedings,It begins quite tame, with fast clipped crescendi,a lingua franca of this style, at least working in Paris round Rue St.
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Format: Audio CD
In spite of a career going back to the early 1990s, the French composer Pierre Jodlowski has little represented on disc. So, it's great that Kairos offers this 2011 portrait of the composer, three works recorded by the Ensemble Intercontemporain cond. Susanna Mälkki. Jodlowski is an avant-garde composer who has inherited from both the post-serial and post-spectralist traditions, and offers an uncompromising brand of modernism. Don't expect melodies here or thematic development, but the "visceral" qualities of his music set it apart from more academic composers.

According to Jodlowski's programme note, "Drones" (2007) refers to the unmanned aerial killers used in the Middle East, the medieval singing technique of fauxbourdon, and the sub-bass grumblings of the films of David Lynch. Right off, one feels that the closest comparison to Jodlowski is Bruno Mantovani; both have deeply felt the inspiration of jazz and rock music, which comes through in their rhythmic liveliness and shaping of gestures. There is a continual patter of unpitched percussion under sudden attacks from pitched instruments.

In "Barbarismes" for ensemble and electronics (2001), Jodlowski wanted to evoke personalities of the Middle Ages through a one-movement form that moves through three distinct sections. First there is the Knight, violent, with metallic percussion. There is a break in the ensemble playing as the electronics reproduce a sample of a thunderstorm, and then follows the Fool, a less aggressive and less confident passage with a curious instability. Finally, the King is slow and spare, a sound that Jodlowski calls "nostalgic" in his programme note. Not a bad piece, but I feel like something is missing when this piece is presented in a mere stereo format.
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