Le sifflement vents porteurs de l’amour
from Chants Convergents by Aventa Ensemble
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…le sifflement des vents porteurs de l’amour… (1971)
“The title, …le sifflement des vents porteurs de l’amour… (“…the whistling of the winds, bearers of love…”) is a quotation from the Spiritual Canticle XIV by St. John of the Cross. The ‘formation’ of the music shared between the two soloists is engendered by the very thought of wind (vent), physical and spiritual, as well as by the form and current that animate it. Although it may be divided into a number of sequences, the music, like the verse, is in one single breath orientated by two poles of attraction which also serve as stations. First: frosts, the blinding purity of silence, breath, fringes of existence – birth of a melody by the oscillation of pitch and space. Second: heat which melts and fertilizes, multiplied and infinite possibilities – grafting by games, interaction, and developments where the centrifugal force of the melody seems either to project events out of its center or inversely to concentrate them in the tenuity of the flute (“bearers of love”).
Two other presences are parallel to the verse of Saint John of the Cross and are of great importance; winter, which is the moment of composition, and the fascinating concept of the first moment of the resurrection with the splendid evocation of the Resurrexit and Alleluia of the Easter plainchant Mass.” – Gilles Tremblay
“The title, …le sifflement des vents porteurs de l’amour… (“…the whistling of the winds, bearers of love…”) is a quotation from the Spiritual Canticle XIV by St. John of the Cross. The ‘formation’ of the music shared between the two soloists is engendered by the very thought of wind (vent), physical and spiritual, as well as by the form and current that animate it. Although it may be divided into a number of sequences, the music, like the verse, is in one single breath orientated by two poles of attraction which also serve as stations. First: frosts, the blinding purity of silence, breath, fringes of existence – birth of a melody by the oscillation of pitch and space. Second: heat which melts and fertilizes, multiplied and infinite possibilities – grafting by games, interaction, and developments where the centrifugal force of the melody seems either to project events out of its center or inversely to concentrate them in the tenuity of the flute (“bearers of love”).
Two other presences are parallel to the verse of Saint John of the Cross and are of great importance; winter, which is the moment of composition, and the fascinating concept of the first moment of the resurrection with the splendid evocation of the Resurrexit and Alleluia of the Easter plainchant Mass.” – Gilles Tremblay
credits
from Chants Convergents,
released November 1, 2021
Mark Takeshi McGregor, flute | Bill Linwood, percussion
Mark Takeshi McGregor, flute | Bill Linwood, percussion
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Redshift Music Vancouver, British Columbia
Redshift was founded in Vancouver, Canada with a focus on championing the music of contemporary composers.
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