Claude Vivier - Bouchara (1981) with score скачать в хорошем качестве

Claude Vivier - Bouchara (1981) with score

Many thanks to Thomas Van Dun for his preparation of this score video.    / @thomasvandun   Bouchara - for soprano and ensemble Written by Claude Vivier in 1981. Performed by Marie-Danielle Parent (soprano) and the Société de musique contemporaine du Québec, conducted by Walter Boudreau. Boosey & Hawkes © 'Claude Vivier's 1981 Bouchara for soprano and chamber orchestra is named after an ancient city in Uzbekistan, mentioned in the memoirs of Marco Polo. This work was intended as part of a collection of pieces that would constitute a musical narrative on the subject of the great explorer. Bouchara is sung in syntax of the composer's own devising, made up of sounds from various European and Asian languages. It is meant to be a love song sung in the language of love, a story that repeats itself continually, and is always the same. Structurally, in amorous tales, only the obstacles change. Among the four surviving works of Vivier's Marco Polo project, this one is shortest, barely twelve minutes long. It is rarely talked about, mostly because a similar work from the same series, Lonely Child, received international recognition and was championed by Ligeti. Bouchara is not as all-encompassing as Lonely Child. It is steeped in a timeless atmosphere: exotic, avant-garde, and immediate. Listeners feel the emotions without having to be especially familiar with Vivier's style of writing. His concerns center on melody and color; the melodies are generally simple but unique to the composer's style. The colors are extraordinary, always changing, sometimes following the singer, and sometimes surrounding her. Gregorian chants and Balinese percussion are a clear influence. Most of the composer's works are in some way autobiographical. His interior world was quite different from his day-to-day life, and he was acutely aware of this paradox. As a man, Vivier was a Montrealais hell-raiser, taking the gay lifestyle to dangerous extremes. His music reflected something quite different: a child, innocent and possessing a healthy appetite for love. The soprano parts of his works often represent him as a pure force in nature. Before his murder in 1983, a ghastly affair in which a young man took his life in Paris, Vivier had been saying for years that he would die soon. His surviving friends believe that his opera, Kopernikus, was his own requiem. Bouchara is one of the only pieces from this period that is not about death. The love felt in this work is monumental, transcendent, and solemn. The object of these affections can be conjectured in several ways. Marco polo's benevolence towards this city is likely a factor. There are also the composer's own personal needs to consider. Then there is Vivier's love for the tales of the famous adventurer and his place in history. Most likely, all of these suggestions are true. Replacing understandable text with a private language of sound, the power of the words is diverse and the music gives them grave impact. It is a large and serious love, spiritual in proportion and felt with a critical impact. Music about love without a designated love object is unusual, but to crave love, need love, is a common experience. That being the case, the fact that there is not more music on this theme is a strange reality, and without Bouchara, this state of affairs might have continued unnoticed. Vivier's work on the Marco Polo project then ended when he received funding to return to Paris, where he intended to work on another operatic project; this time the subject was Tchaikovsky. This piece was not completed. He died at 34, about the same age as Mozart. It is not known if he intended to go back to work on the Marco Polo theme, and where Bouchara would sit among its companions.' - John Keillor If you want to perform or purchase this score, please contact Boosey & Hawkes.