Julverne - 1986 - Ne Parlons Pas De Mahleur

Julverne

1986

Ne Parlons Pas De Mahleur

01. Ne Parlons Pas De Mahleur 11:23

02. Theobald Bœhm 3:56

03. Catherine En Campine 2:50

04. Clementine 4:47

05. Danse Syldave 2:27

06. Soupe Au Crapaud 2:31

07. Le Rose Aux Joues 1:35

08. La Fille Aux Cheveux Gras 8:01

- Lucie Graumon / voix

- Pierre Coulon / flutes, alto saxophone

- Dirk Deschemaeker / clarinet, bass clarinet

- Michel Berckmans / bassoon

- Jean-Paul Laurent / piano

- Jeannot Gillis / violin, cuivres

- Wiet van de Leest / viola

- Claudine Steenackers / cello

- André Klenes / contrabass

- Jacqueline Rosenfeld / violin, viola

- Charles Loos / piano

Having played enough in retro, Julverne returned to the roots. The disc "Ne Parlons Pas De Mahleur" is an exemplary example of contemporary chamber music. This time, the "big three" (Gilles, Coulomb, Laurent) worked without regard to someone else's heritage. No variations on a theme, only my own compositions. And who, if not them, knows the recipes for creating new classics. With regard to the instrumental composition, there were no surprises. Old acquaintances Michel Berkman (bassoon, oboe) and Charles Luz (piano) not only sparkled with their performing skills, but also noted for their participation as authors. Other vacant places in the ranks were taken by Claudine Stinake (cello), Jacqueline Rosenfeld (violin, viola) and Andre Klenet (double bass), who worked on the record "Emballade ..." (1983), as well as clarinetist Dirk Deshimaker, gained invaluable experience of cooperation with Univers Zero. At the right moment, Julverne gathered under the roof of the legendary Brussels studio Daylight, where their fourth LP was eventually immortalized...

Written by Jeannot Gilles (violin), the title piece is a key episode of the programme. The polyphonic scope alternates with touching string solos, the gloominess, unusual for the previous creative excursions, is balanced by the nostalgically colored sound of the wind instruments. The dichotomy of light and darkness, the spiritual struggles of the artist find adequate expression in the complex sonic collisions of the 11-minute canvas. A brilliantly embodied construction of a three-dimensional philharmonic plan. The avant-garde opus "Theobald Bœhm" is a figment of the imagination of Pierre Coulomb (flute). In this piece, dedicated to the German composer and innovator in the field of brass, the super-complex vocal parts of Lucy Gramont draw attention to themselves. The synthesis of traditional operatic singing with theatrical modernist recitative technique and solemn chorales makes an indelible impression. Maestro Coulomb's inventiveness is worthy of individual applause. "Catherine En Campine" by Charles Luz is an extremely romanticized study, immersing the listener in a portrait gallery of the nineteenth century with its refined aristocracy and sentimentality. In defiance of the aforementioned fresco, another work by Luz, "Clementine", is turned to face the present. Accentuated piano chords, background "illumination" of strings and extremely curious maneuvers of Deshimaker, in whose amazing possession of the clarinet one can guess admiration for the improvisational art of jazz saxophonists. The unusual textural sketch of "Danse Syldave" gives us a chance to enjoy the magnificent playing of the violist Vita Von De Liszt, who was specially invited to the company by Jeannot Gilles. "Soupe Au Crapaud" Michel Berkman is impregnated with equanimity (with elements of self-irony) and polished elegance of each overtone. Indistinct sadness comes from the laconic number "Le Rose Aux Joues" - fragile and elegant, like Cinderella's crystal slipper. And it must be said that it perfectly sets off the artistic escapades of the final movement called "La Fille Aux Cheveux Gras", in which the gray-bearded classicism is seduced by the charm of minimalist tendencies; very interesting and ambiguous ending of the action. in which gray-bearded classicism is seduced by the charm of minimalist tendencies; very interesting and ambiguous ending of the action. in which gray-bearded classicism is seduced by the charm of minimalist tendencies; very interesting and ambiguous ending of the action.

To summarize: a wonderful release without the slightest bias towards "fatalism", which has exceptional value for a music lover-intellectual. Recommend.