The choice of knowing only the titles and dates of the compositions before listening to this recording stems as much from the pleasure of discovery as that of the challenge of my faculties for listening and emotion.
The great fun of this album’s pertinence appeared to me simultaneously in the construction of the works, the quality of the sound matter and spaces, the coherence of the organization of the pieces amongst themselves, which brings out their individual character whilst creating the dramaturgy of a musical piece in three movements.
Où en est la nuit can be heard as an overture in which the mufed sounds of a bass drum merging with the harmonics of the piano suggest a sort of percussion stimulating a ritual dance that refers to Hanbleceya, inspired, with distance, by Amerindian cultures. By its atmosphere and this beat with Fanàriki metallic sonorities, it also introduces the hypothesis of a second movement that is organized in a fluidity and aesthetic kinship with the Guitar Concerto.
The group of these three works, even though dating from different periods, creates a sound identity in which, paradoxically, the disturbing and the soothing are combined.
The acoustic homogeneity and constant musical quality of the whole triptych are the fruit of the remarkable interpretation of the NEM conducted by Lorraine Vaillancourt. These qualities exclude carelessness in the listening: they capture and lead the listener in an attentive musical roaming.
There is ‘a mystique’ in Zad Moultaka’s work that is not of a religious order but is inspired by Nature and numerous cultural traditions, in which the Human Being and his philosophical quest are at the centre of the societal fact. It is the kneading and metamorphosis of this group of elements that the composer elaborates in an innovative musical language, fertilizing the listener’s imagination.
The musical encounter between Lorraine Vaillancourt, the NEM and Zad Moultaka seems obvious. It is based on affinities and shared artistic and human standards. Such demands in the process of realization, all the more so in that ‘Hybris’ is necessary in the making of art. This complex alchemy, of which the substances are often antinomical, is affirmed delicately and discreetly in this performance.
This striving for perfection incorporated into attentive, amiable listening charmed me from my first encounter with Lorraine Vaillancourt. This was the beginning of an artistic companionship that has lasted more than twenty years. Even though more recent, my relationship with Zad Moultaka is of the same nature.
This relational aspect could seem off the point in this text. But, in the socio-culture of the arts, undermined and undermining, in which doubt, ego and narcissism abound, it is not simple to reconcile stakes, professional constraints and shared sentiments. Time passes ineluctably! This time, a factor of erosion and decantation that lets only the essential subsist, has deposited sediment on the experience of this reunion of artists as closely to the perfection of sound and gesture as possible.
By listening to the works it proposes, this musical edition creates a suspended time, a pleasant, fleeting removal from reality... (Raphaël de Vivo)
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