[TR24][OF] Collectif Trytone - Back to Bach - 2021 (Classical Crossover, Jazz, Soprano)

foobar2000 1.2.2 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта:  2021-02-11 17:44:27
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Анализ:   Collectif Trytone / Back to Bach
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DR         Пики         RMS           Продолжительность трека
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DR9       -0.21 дБ   -12.32 дБ      7:19 ?-Prelude 999 (After Johann Sebastian Bach)
DR11      -0.10 дБ   -13.98 дБ      4:31 ?-Leite mich (After Johann Sebastian Bach)
DR10      -0.21 дБ   -13.32 дБ      6:49 ?-Qui tollis (After Johann Sebastian Bach)
DR11      -0.10 дБ   -15.56 дБ      8:28 ?-Whispers (After Johann Sebastian Bach)
DR10      -0.22 дБ   -12.47 дБ      6:01 ?-Passion (After Johann Sebastian Bach)
DR11      -2.31 дБ   -18.91 дБ      4:47 ?-Prelude solo (After Johann Sebastian Bach)
DR9       -0.10 дБ   -11.51 дБ      9:40 ?-Soulful rest (After Johann Sebastian Bach)
DR9       -0.10 дБ   -12.31 дБ      7:30 ?-Bliss (After Johann Sebastian Bach)
DR10      -1.21 дБ   -14.62 дБ      3:51 ?-Epilogue (After Johann Sebastian Bach)
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Количество треков: 9
Реальные значения DR: DR10
Частота:   44100 Гц
Каналов:   2
Разрядность:   24
Битрейт:   1284 кбит/с
Кодек:   FLAC
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Lucie Chartin - Soprano
Lucie de Saint Vincent - Piano & arrangements
Joao Driessen - Saxophone - soprano & tenor
Mihail Ivanov - Contrabass
Joan Terol Amigó - Drums
Arrangements by Lucie de Saint Vincent & Pascal Mabit*

There is often a sharp line perceived between the practice of improvisation and the practice of Western Art Music. One is seen as spontaneous, risk-taking and live, and the other is seen as the art of perfection, of reproduction and interpretation. Collectif Trytone believe, like Nadia Boulanger, that no sharp distinction should be made. Even though the compositional fabric of Bach’s music is arguably the pinnacle of human creativity, why should it be viewed as untouchable, sacred, like a museum artefact? Even the early music revolution in the 1970s, with its emphasis on research, sources and performance on period instruments, promised no definitive answers about Bach’s sound world. As Nikolaus Harnoncourt himself acknowledged, all we ultimately achieve are imaginative reconstructions of sound according to our present aesthetic perceptions. Collectif Trytone plays with the idea of musical time travel. Our performances and arrangements bring the reciprocity of past and present to the fore: we see music as a constant process of evolution. Not only does the element of improvisation in our performances highlight this, but our compositional material is itself a musical continuation of Bach’s music in the 21 st century.
Lucie de Saint Vincent, artistic director of the group, embodies these principles in her approach to arranging and composing. The performances on this CD take material from some of Bach’s most famous compositions. Source materials include arias from his cantatas, including ‘Die Seele ruht in Jesu Händen’ (BWV 127), ‘Ich bin Vernügt mit meinem Glücke’ (BWV 84), the ‘Qui tollis’ from Bach’s Missa Brevis in A minor ( BWV 234), ‘Leite mich in deine Wahrheit’ (BWV 105), the first and last choruses from his St John Passion (BWV 245) as well as two small keyboard preludes. Using these movements as inspiration, she creates material for the Collectif to explore in performance, incorporating elements of jazz as well as historical performance. Lucie’s arrangements take inspiration from various elements of Bach’s musical writing. For example, a chord progression, a melodic line, or a piece of counterpoint might be transformed rhythmically or harmonically expanded to form the basis of new compositions.
The tracks on the CD also feature elements of original composition in the style of Bach, such as the slow section of ‘Prelude 999’, or in a more jazz style, including some sections of improvisation in all other arrangements. This is the core principal of the Collectif. Founded in 2016, the aim of exchanging and experimenting with different styles and musical languages underpins a wider ambition to ultimately erase boundaries and barriers in music altogether. This involves moving beyond the comfort zones of the performers, and a need for curiosity and openness to risk-taking – something that there is often little opportunity for in the current world of performance. Jazz saxophonists explore baroque inflected phrasing and ornamentation, jazz bass players shape their walking-bass progressions like a continuo line and drummers must at times experiment with rubato in their playing. Equally, a classically-trained opera singer should experiment with improvisation, be able to follow the structures of a jazz performance, and liberate themselves from the notation. Overall, this creative ethos opens up a space in which different musical approaches can mutually enrich each other to create new, relevant perspectives on Bach’s music today.
Ultimately the ‘boundaries’ between musical styles – boundaries that are reinforced by our musical institutions, conserved by our conservatories and frequently promoted by concert halls – are not so sharply delineated in real life. Human creativity knows no boundaries. In its time, Bach’s music was not simply abstract and intellectual: it touched and moved the feelings and bodies of the congregations relating them to their own existence and to a higher sense of spirituality. Its universal and timeless nature touches and moves those who listen to it to this day. The titles of the tracks are designed to represent the universality of these human, spiritual and emotional
experiences: the sensations of Passion, Bliss and Rest have human relevance that transcends time, space and musical style. Back to Bach takes raw compositional elements from Bach’s music, enhances, transforms, and explores them from all angles to create new, immediate and emotional experiences. For music has the power to move and reconnect us to the present moment, to our core, to others, and to the world.