| Bruiducœur, prières des infidèles: Sacred voices and rebel prayers, Bruiducœur is both a journey through death and a battle against the Dragons of Immortality.
Percussionist and composer Danielle Palardy Roger releases Bruiducœur, prières des infidèles, a new CD on Ambiances Magnétiques.
Bruiducœur, prières des infidèles was recorded live at Espace GO in Montreal, on June 3, 2004. Its stage version underwent a few changes to improve its qualities and sound dynamics: careful editing and layering techniques allowed to keep the whole work, while shortening it, duration wise.
An account of a man’s last agonizing moments, Danielle Palardy Roger’s Bruiducœur, prières des infidèles is a secular ritual involving three characters: HIM, who is dying; HER, the ironic observer; the CHOIR and SOLOISTS, empathic and omnipresent.
Written for a 13-voice mixed choir (conducted from the inside), two speakers, two soloists, and two percussionists, this satirical elegy in 13 tableaux follows the oratorio form and brings together sung, proclaimed and chanted poetry, composition and improvisation. Sitting at the heart of this work, phonetic articulation and vocalism carry the meanings and express the feelings.
To bring this major work to life, Danielle Palardy Roger drafted a group of experienced musicians. VivaVoce is known for its quality interpretations of music dating from the Renaissance to our days. Here, the choir thrusts and bites into the music with great virtuosity. Master actors Danièle Panneton and Jacques Piperni eloquently give life to the libretto. DB Boyko and Christine Duncan lead the choir through improvisations and add their unique noise experiments to the music, while impertinent percussionists Patrick Graham and Jean Martin play the Time Keepers.
Bruiducœur, prières des infidèles originated from a composition residency at Vancouver’s Western Front in the summer of 2002. This work proceeds from a method applied in three previous productions: the musical tale L’Oreille enflée (1990), the musical theatre Candide sur une toupie (1994) and most importantly the solo performance Le Voyage en Aphasie Mineure (1998), where the exploding language represents an intense realm of communication, one of the composer’s main concerns. Roger is a versatile artist whose projects have consistently brought her back to text, song and declamation. Bruiducœur illustrates how important that aspect is in her work taken as a whole. |