DOMINQUE PIFARÉLY - Time Before And Time After
ECM 472 1563
Dominique Pirarély (violin)
Recorded September 2012 & February 2013
This is the French violinist's first appearance on ECM for a decade, having last been heard on on pianist Stefano Battaglia's Re: Pasolini, and although the press release that accompanied this CD advises that further recordings by Pifarély are in preparation but he marks his return to the label with a programme of solo violin improvisations drawn form performances at the Auditorium Saint-Germain in Poitiers and Cave Dimière in Argenteuil.
It may be somewhat of a daunting proposition as a listener to approach nearly 70 minutes of solo violin, and I did must admit to a little apprehension when first listening to this album, but what was very quickly apparent is that the performances would contain a great deal of variety in terms of sounds produced (it is all to easy to forget that the violin is a polyphonic instrument), along with the lyrical, textural and orchestral music that Pifarély plucks, of more accurately bows, out of thin air.
Of his solo playing, the violinist says that he only permits himself to think "only ten or twenty seconds before a performance" of he may begin the set. This sense of spontaneity and anticipation is keenly felt, and as the bow touches the strings of the violin the music pours effortlessly in a controlled outpouring in which Pifarély allows the music to flow.
A deep sense of melody and form prevails on the opening 'Surterre', which is immediately followed by 'Meu Ser Elastico' that develops through a series of rhythmic motifs, that lead from one idea to the next.
As the set progresses, one is aware of the staggering virtuosity that is required to bring such music to life, but such virtuosity and use of extended techniques is always held in check and purely at the service of the music, and the long more abstract improvisations 'Avant Le Regard' and 'Gegenlicht' contain some dense harmonic and polyphonic lines that overlap and intertwine to create music of great density, yet packed with event.
If the above indicates that this is not an easy listen, it is an album that reaps its rewards when given the concentration and attention that it deserves.
Reviewed by Nick Lea
ECM 472 1563
Dominique Pirarély (violin)
Recorded September 2012 & February 2013
This is the French violinist's first appearance on ECM for a decade, having last been heard on on pianist Stefano Battaglia's Re: Pasolini, and although the press release that accompanied this CD advises that further recordings by Pifarély are in preparation but he marks his return to the label with a programme of solo violin improvisations drawn form performances at the Auditorium Saint-Germain in Poitiers and Cave Dimière in Argenteuil.
It may be somewhat of a daunting proposition as a listener to approach nearly 70 minutes of solo violin, and I did must admit to a little apprehension when first listening to this album, but what was very quickly apparent is that the performances would contain a great deal of variety in terms of sounds produced (it is all to easy to forget that the violin is a polyphonic instrument), along with the lyrical, textural and orchestral music that Pifarély plucks, of more accurately bows, out of thin air.
Of his solo playing, the violinist says that he only permits himself to think "only ten or twenty seconds before a performance" of he may begin the set. This sense of spontaneity and anticipation is keenly felt, and as the bow touches the strings of the violin the music pours effortlessly in a controlled outpouring in which Pifarély allows the music to flow.
A deep sense of melody and form prevails on the opening 'Surterre', which is immediately followed by 'Meu Ser Elastico' that develops through a series of rhythmic motifs, that lead from one idea to the next.
As the set progresses, one is aware of the staggering virtuosity that is required to bring such music to life, but such virtuosity and use of extended techniques is always held in check and purely at the service of the music, and the long more abstract improvisations 'Avant Le Regard' and 'Gegenlicht' contain some dense harmonic and polyphonic lines that overlap and intertwine to create music of great density, yet packed with event.
If the above indicates that this is not an easy listen, it is an album that reaps its rewards when given the concentration and attention that it deserves.
Reviewed by Nick Lea
