|
|
|
| |
In the beginning there was the piano. As soon as he mastered
the basics he discovered the spell of melancholy while working
on a little musical piece: an etude ringing out in the style
of a somber hymn. Not the dead meat smell of somberness that,
according to Picabia, serious people emit. Rather, instead,
the earthen gravity of an abyss dug by life itself. Everything
is the result of this bedazzlement.
At 11 years old, Jean-Philippe
Goude closed his eyes. When his eyelids finally re-opened,
he could only see turquoise
bubbles.The times had changed. The color was set by Sgt Peppers
With Weidorje, he initiated a rock adventure which led him
to Dick Annegarn, Odeurs, Renaud, for whom he wrote outstanding
arrangements. Mistral Gagnant revives itself from his artistic
signature. He spent three years wandering and then awoke.
In
1985 he decided to write his own music, the music which had
been lying asleep in a corner of his childhood. He sold
his synthetizers and kept only a piano. Gone was the sequined
way out. Thus began a long period of looking at himself in
the mirror of sincerity. De Anima appeared
in 1992, a decisive step on a neo classical path. Then followed
the album Ainsi
de nous (1994), La Divine Nature des Choses (1996)
and Rock
de Chambre (2001). Just as many of his works recognized,
popularized often by radio and television. Jean-Philippe
Goude is the author of these unforgettable musical titles
which accompanied shows such as Un Siècle d’Ecrivains
(France 3), Caractères (France 2) and again A voix
nue (France Culture).
Rock de Chambre is a testimony of his
taste for un-nameable combinations, like the meeting of a
chamber orchestra and
a rock drummer (including progression) linked to King Crimson;
the album in which pop music legacy, the passion of energy
and rhythm take on a special contrast.
There lies the secret.
In the nostalgia of the baroque era (with all the subtle
connections with song and dance) and
the futurism of music which rejects neither Mahler nor David
Sylkian, nor Ravel nor Penguin Cafe Orchestra. A sort of
new age of scholarly music which balances on a tight rope
held on one side by Lully’s heirs and on the other
by the fans of Sufijan Stevens. Curious mix.
Aux Solitudes is certainly a play on words on Purcell (O solitude), but
this album of classic instrumental and post-rock
returns to a serious theme, that is an essential, and which
does not consist of a consensual complaint on the planet’s
degradation but instead, of an evocation of a major challenge.
The announcement of the death of God has turned us into orphans.
It’s up to us to fully pay the consequences.
Intertwinning
of styles, borrowing from the past and prospective sounds
characterize this new album in the color black, twinkling
(like the vibrations of a painting by Pierre Soulages), whose
lyricism is paradoxical for hope spurts forth on a base of
desolation. Mixing the acoustic sources and electronics,
with a shivering lightness and a frenetic pulsing, Jean-Philippe
Goude invents this great music which abolishes frontiers.
This music is to be listened to and looked at.
The singularity
of L’Ensemble Jean-Philippe Goude is
a magical union where a quintet of strings, piano, Martenon
wave, mandolin, woodwinds and some heavenly voices, composing
a cinematic universe like a film that projects dreams, doubts,
nighttime moods, and the perspective of a path which is ours
to draw. Here is a majestic work, profound in which it is
impossible to lose oneself. It speaks as much to the fans
of baroque music as to those souls moved by the minimalism
of Moondog and Phil Glass, and to those who are touched by
the fantasies of Erik Satie; as to those who are the most
ardent admirers of Arvo Pärt’s diatonic music.
For anyone turned on by Gabriel Fauré or definitely
seduced by the elegies of Robert Wyatt, Aux Solitudes is
an album of contrasts which goes beyond its predecessors.
As
for the text recited by Laurence Masliah and Jean-Philippe
Goude, sung by Isaure Equilbey and Paulin Bundgen, our young
boy of 11 years of age has just inscribed a capital work
in the marble of music on the move.This is one of the works
that one will listen to with the sole purpose and the sole
pleasure of traversing life (without the help of the afficionados
of Lully and Sufjan Stenvens) while envisioning one’s
present and future on a sensitive mood. Sensitive, Jean-Philippe
Goude is assuredly, like a string which would be pulled by
a wounded heart and the smile of an eternal child who doesn’t
know that life dies.
Guy Darol (translated by Céline Barré) |
|
|
| |
| |
http://www.goude.net (J.P.
Goude' site)
http://www.myspace.com/icidailleursbooking (contact
live)
MYSPACE
http://www.myspace.com/ensemblejeanphilippegoude |
| |
| |
| |
 |
JEAN-PHILIPPE GOUDE - Aux solitudes
[2008 CD - IDA047]
DELUXE EDITION - digisleeve with booklet
01. Prolégomènes I 02. Market Diktat song 03. Embarqués
dans les pentes 04. l'Homme dévasté 05. Prolégomènes
II 06. No hay camino, hay que caminar 07. A nos rêves évanouis
08. Prolégomènes III 09. L'intranquilité 10. Là où les
mots nous laissent 11. Fermer les yeux pour voir 12. De la consummation
13. Madeleine auf dem Weg 14. Le diverti se ment 15. Aux solitudes
buy
the record
|
| |
|
JEAN-PHILIPPE GOUDE - Aux solitudes
[2008 CD - IDA047]
01. Prolégomènes I 02. Market Diktat song 03. Embarqués
dans les pentes 04. l'Homme dévasté 05. Prolégomènes
II 06. No hay camino, hay que caminar 07. A nos rêves évanouis
08. Prolégomènes III 09. L'intranquilité 10. Là où les
mots nous laissent 11. Fermer les yeux pour voir 12. De la consummation
13. Madeleine auf dem Weg 14. Le diverti se ment 15. Aux solitudes
buy
the record
listening & downloads
|
|
