Récitations - Georges Aperghis International Festival of Contemporary Music Warsaw Autumn

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A presented image, a memorised recitation—of a schoolboy who occasionally hesitates but then catches up—makes the rout of meaning allowed for by mechanical repetition even more poetic. 

Daniel Durney 

It is, as others have said (let us boldly use the plural), a portrait of women. We can list, enumerate, inventory (words dear to the composer) the attitudes suggested by the author to the performer at each moment: determined (Recitation no. 10, le part, 1st version); cute but perhaps indifferent (5); despicable verging on cruelty (13); very young girl who opens up to life, listening to her mum (8, central part, vertical version); worldly but worn out (11); accepting her destiny, almost disembodied (14)... Because each Recitation is a tiny theatre in itself. You play with language and its rustle. More generally, the composer speaks about humanity. He puts himself in the position of someone who needs to invent the little alphabet of the world. 

Vincent Loizeau