From the real present

The title of this CD with ensemble pieces by Dominique Schafer says it all: Vers une présence réelle ... Whether Schafer is referring to Georg Steiner's influential publication From the real present (1990), which once again sought to establish a metaphysics of art at the beginning of the digital age, remains to be seen. In any case, there is no need to worry about the immediate presence of sound in these compositions, which are as brilliantly and energetically formulated by ensemble proton bern.

The eponymous ensemble piece speaks volumes: a complexly ramified, microtonally shaded music with harmonically and timbrally rich textures. Schafer has split the ensemble apparatus into three trio groups, which rub against each other, merge and repel again in the context of a large-scale sound development, thereby developing the most diverse aggregate states of sound. Two solo pieces with electronic extensions embody particularly concentrated sound inventions: Cendre (2008/15) for bass flute and eight-channel electronics is actually a spatial composition that sends the thin-skinned "ash" sounds of the flute around the listener, complementing, manipulating or grounding them in a two-dimensional way. Particularly impressive: Richard Haynes' tailor-made Ringwood (2018), a highly concentrated monologue for bass clarinet and live electronics, whose dazzling multiphonics and striking individual gestures experience crystalline sharpness and microscopic differentiation - a showpiece for Haynes. Schafer's preference for low, indeed particularly low woodwinds underpins Infr-a-ction (2018), which juxtaposes the rarely heard low-pitched lupophone (a kind of bass oboe) and contraforte (an ultra-contrabassoon) with a group of six instruments. A powerful, captivating piece that marks the highlight of this CD with its choppy, dark timbres.

The detailed booklet text by Thomas Meyer, which zooms in on the music, deserves special mention - unfortunately, this is no longer a matter of course at Kairos.