Utwory na płycie:

• 1 Track.mp3
• 2 Track.mp3
• 3 Track.mp3
• 4 Track.mp3
• 5 Track.mp3
• 6 Track.mp3
• 7 Track.mp3
• 8 Track.mp3

Trois chants pour mieux voir:
I. Par en-dessous
II. Derriere le mur
III. En dedans

Sonate pour Violoncelle et Piano:
I. Prologue - lent
II. Sérénade - Modérément animé
III. Finale - Animé

Nada
Elégie

A project, a dream. Three composers, about a century apart, sharing their own way of searching for colors and how to express them. Four compositions for cello and piano that explore just as many ways of performing: an original work on gut strings and with the piano of the composer, a short piece for piano in a transcription for cello and piano, a wide-ranging composition for cello and piano with preparations and finally, a work for cello, piano and electronics. An example of how music has evolved in the past century, using basically the same two instruments. A century in color, so it seems. The various works have one common feature, namely, that they are part of a cycle. Claude Debussy called the cello sonata 'La premiere pour violoncelle et piano', after which he would only complete the sonata for flute, viola and harp and the sonata for violin, of the planned collection of six. Daan Janssens' composition is part of a cycle ( Paysages - études ), which came into being between 2010 and 2015 and of which (...nada.) is the third part, and each of the 'Trois Chants pour mieux voir' by Jean-Luc Fafchamps stand as compositions of themselves, but the three of them also form a single, intense story. The 'Ouverture a la Française' which opens Debussy's cycle of sonatas and which openly refers to the golden days of baroque music by Rameau, Lully and Couperin, appears amid the devastating war as an almost patriotic act. Soon, however, a melancholic melody is heard, supported by what has for centuries been typical of the lamento: the chromatic descending bass. Also in the following sections, Debussy demonstrates his masterful petulance: the German Luther chorale Ein' feste Burg ist unser Gott is transformed into a modified theme in the second part and in the Finale he actually quotes the Marseillaise! In a sense, this all benefits the contemporary language of Fafchamps and Janssens. Where Debussy, from behind different masks, chuckles at his own iniquities - he calls the piece itself, which was composed just after En blanc et noir for two pianos and which contains explicit references to the same choral and the same Marseillaise, a hidden homage to his beloved fatherland as a minimal but intimate act of resistance against the aggressor - Fafchamps and Janssens step forward into the limelight of their own theater.