Vertaling van het Italiaans naar het Engels door Giusi Caruso:

Music, since ancient times, has always come to terms with poetry, the other form of art considered "musical" for
excellence. This relationship has never (and will never) ceased to exist since even the contemporary musical language continues to pay attention to this binomial.

One of the finest contemporary Belgian musicians, Lucien Posman, is specialized in vocal and choral repertoire, paying attention to embed, overlap and precede the sound of the voice/poetry  over the musical instrument. The beautiful album, which the Belgian record company Phaedra dedicated to him as a part of the works series on contemporary Flemish composers, presents a range of choral works (with and without musical accompaniment ) in which Posman wanted to juxtapose the strength, the power of the poetic expression to the sound of the voice. So the Poems by William Blake, Rainer Maria Rilke and Friedrich Hölderlin, the Bible, the Carmina Burana are shaped , articulated , distributed by the speech context through a musical language which refers to the postulates of postmodernism. The fragmentation of the sound ( primarily instrumental ) never abandons positions which recall an identification much more  modal than tonal.

If compositions such as "Welcome Stranger to this Place " and " Ode to the Seasons " ( taken from the verses of Blake ) are not particularly interesting , at the contrary pages as " Wilder Rosenbusch " ( verses from Rilke ) , " An die Parzen " (from Hölderlin ) and " the Tyger " (also from Blake ) presents an intersection of voice and instrumental sound which undertake an explorative and researching relationship, even if the timbral projection never loses a sight of a proper formal consonance. Above all, " An die Parzen " and " The Tyger " are particularly intriguing in the game of reference which takes place between voice / sound derived from it and to it.

The mixed choir AQUARIUS is an unexceptionable proof, as well as the musical ensemble and solo voices , all well coordinated from the podium by Marc Michael de Smet .

 

 

 

   
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