Le Corps Á Corps, by Georges Aperghis
Performed by Kramer Milan
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ABOUT THE PIECE:
Georges Aperghis’ Le Corps Á Corps (literally ‘body to body’ or also ‘neck and neck’) takes a race car track as its setting. The performer plays many different roles: the driver, the sports commentators, the audience, and even the car itself. Aperghis develops the material in an almost cinematic fashion, splicing the musical gestures and spoken text into smaller and smaller pieces and placing them closer and closer together as the drama unfolds and intensifies; these bit of material finally crash into one another as the piece hurtles towards its final bars. The music is periodically interrupted by long periods of silence which freeze frame the action and prolong the tension of a single moment. Scored for zarb (an small hand held Arabic drum) and spoken voice with numerous instructions for the performer’s physical movements, this, like many of Aperghis’ works, treads the thin line between music and theater.
-Samuel Solomon
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TRANSLATION:
Avant dix heures, autour du cadavre, ils étaient déjà répartis tout le long de la course, des deux côtés, au corps à corps. Les seules actions visibles avaient lieu à la ligne Départ-Arrivée, où de temps à autre un charlot surgissait – saisissant le casque étincelant, faisant un bond, se blessant au bras – à toute blinde du nuage de poussière, et descendait en titubant de sa meule, que l’équipe d’entretien s’empressait d’emplir d’essence et de relancer sur la piste, avec un motard tout frais dessus. De sa blessure fraîche, à son bras le sang coule. D’immenses cris s’élèvent.
Before ten o’clock, around the corpse, they were already dispersed along the track, on both sides, neck to neck. The only visible actions occurred at the finish line, where from time to time a fool appeared – seizing the glistening helmet, leaping up, injuring his arm – blasting out of the cloud of dust, and staggering down from his motorcycle, which the maintenance team rushed to refuel and launch back onto the track, with a fresh rider on it. From the fresh wound on his arm the blood flows. Immense cries arise.
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ABOUT THE PERFORMER:
Kramer Milan reaches percussive ingenuity through acts of striking and hammering. From his Carnegie hall debut with the Yale Percussion Group to performances with the New Haven Symphony and U.S. Coast Guard Band, Kramer exemplifies versatility. He’s received degrees from Yale University and the Peabody Conservatory. Kramer performs exclusively with Vic Firth mallets and sticks.
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Le Corps Á Corps, by Georges Aperghis | |
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| Music | Upload TimePublished on 18 Apr 2017 |
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