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This CD is the third harmonia mundi recording of music by Thierry Pécou, whose acclaimed 'Symphonie du Jaguar' won a Diapason d'Or in 2010. This composer of Caribbean descent has consistently extended his sources of inspiration to Latin America and notably in the direction of Mexico, of which we hear echoes in 'L'Arbre aux fleurs' and 'Soleil-Tigre'.
But it is Brazil that lies at the origin of the 'carnival' concerto 'Tremendum', the main work in the programme, presented here in a new version specially made by Pécou for Les Percussions Claviers de Lyon.
Tremendum (2005-2010) Concerto-carnaval pour piano, flûte, saxophone, violoncelle et 5 percussions
Soleil-Tigre (2009) pour violoncelle et piano
Manoa (2005) pour flûte basse, clarinette basse et violoncelle
L'Arbre aux fleurs (2010) pour 5 percussions: I. Perles de jade
L'Arbre aux fleurs (2010) pour 5 percussions: II. Tambour fleuri
Paseo de la Reforma (1995-2011) pour flûte, saxophone, violoncelle, marimba et piano
Danzón (1998) pour flûte solo
28th July 2012
“French-Caribbean composer Thierry Pécou draws on both the musical stylings and the myths of South American culture in these works..his percussion interplay driving along...with an insistence that recalls not just Reich and Glass, but also the batucada percussion ensembles of Brazilian carnivals. Absorbing.”
29th July 2012
“Pécou’s music is founded on a few well-defined principles. It is pulse-based. It is unashamed about dwelling on simple melodic cells. It grows through repetition and contrast, rather than metamorphosis. And it passionately and infectiously embraces the musics of South and Central America.”
“Pecou's works combine driving rhythms and imaginative textures with strong Latin American influences. This engrossing selection, especially his Tremendum, conveys his exuberant writing.”
The Arts Desk
27th October 2012
“Pécou delights in music which is jagged, ritualistic – he dreams of “making the whole world resonate.” And this encapsulates exactly what’s so startling about several of the pieces collected on this second Harmonia Mundi anthology – they don’t sound composed at all, more like field recordings collected by an intrepid ethnomusicologist.”
“One element of his music-making that underlines the affinity is a freshness, an aversion to rules – on the strength of the works here he shares something of the if-it’s-fun-I’ll-include-it attitude of the more orthodox composers like Villa-Lobos and Chavez”