Ivan BELLOCQ
Obsession: Obsession (2007) [8:15]; Tectonique des
rêves (2006) [6:51];, 3 Anachroniques (2005) [8:45]; Citrons éclatés
du silence (2004) [8:49]; Palmes (2003) [5:31];, La Folia (1998) [14:34]; Trio
déconcertant (1996) [11:29];, Triptyque (1976-78) [6:40];
Ivan Bellocq (flute); Florentino Calvo (mandolin); Jean-Marc Fessard (clarinet);
Jean-Claude Henriot (piano); Pierre-Olivier Queyras (violin); Anja Thomas (reciter);
Eric Villeminey (cello); Pierre-Henri Xuereb (viola d’amore)
rec. 6-10 October 2008, Auditorium de L’Ecole Nationale de Musique de
Mantes en Yvelines, France. DDD
DUX 0693 [76:19]
Ivan Bellocq is a French flute player and composer. He began his career as
a flute performer and teacher, and later became Principal of the Saint-Cloud
Conservatory. In recent years he has concentrated his career on composition,
and he has received a number of commissions, including from Radio France, and
the Théâtre du Châtelet. His compositional style is individual
and has a sense of creative freedom, perhaps borne from his lack of formal
compositional training. This disc of his chamber works will be an opportunity
for his works to be heard, perhaps for the first time, by a wider audience
and demonstrates the range of his compositional output in recent years.
The title track of the disc, Obsession is scored for clarinet, violin,
piano and electronics. A slow moving, brooding work, this is music which possesses
a dark intensity, especially in the quiet opening minutes. An explosive section
follows, with pounding rhythms and wild glissandi.
Tectonique des rêves, for violin and piano, is no less dramatic.
Describing movements of the tectonic plates, but set in a world of dreams,
the two instruments are used to full effect, with a range of percussive sounds
and extended violin techniques.
Trois Anachroniques is written for flute and reciter, and is recorded
here with the composer playing the flute part. Once again using a wide range
of contemporary instrumental techniques, this is a successful work which is
both dramatic and engaging. At times, both performers connect in a vocal dialogue,
and Bellocq’s use of sound is both resourceful and imaginative.
The mandolin is not an instrument immediately associated with contemporary
repertoire, but Citrons éclatés du silence provides a
wonderful opportunity to explore that instrument in a modern context. Bellocq
based his writing on artistic depictions of the mandolin, especially by the
cubists, and the lemons in the title come from the shape of the instrument.
Silence is an important aspect of this work, and the pacing is well-judged.
Palmes is a solo work for viola d’amore, composed in 2003. This
is an interesting work, making use of the instrument’s resonance and
unusual sonorities. The work that follows, La Folia was composed much
earlier, in 1998, and there is a distinct difference in compositional style.
Based on the 15th century La Folia melody, there is more
tonality in this work than in the later works, and the theme is much more apparent
than then hidden folk theme of Obsession. Despite this, the music retains
Bellocq’s unique style, with violent piano outbursts and moments of extreme
dissonance coupled with moments of calm and peaceful contemplation.
There are two remaining early works on the disc. Trio déconcertant was
composed in 1996 for flute, clarinet and cello, and combines different musical
styles, including a twelve-tone treatment of blues-style material. Triptyque was
composed in 1976-78 and was Bellocq’s first composition. Here his early
influence from popular music styles, such as jazz, is much more apparent, and
it is interesting to see his more recent works in the context of his compositional
journey.
This is a well produced disc with some excellent playing from all of the musicians
involved. I particularly enjoyed Bellocq’s own playing, as well as that
of clarinetist Jean-Marc Fessard. Bellocq’s music is worthy of exploration.
It presented well in this format, and I look forward to hearing more from this
composer.
Carla Rees