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Baroque Tardif: Soli

CA21051
Released: 01/26/10

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Florent Ghys

Baroque Tardif: Soli


Tracks

  1. Soli [ MP3 ]
  2. Simplement
  3. Coma Carus
  4. Clignotants
  5. Bèchamel
  6. Phase Parisienne (digital only)

Notes

It's no coincidence that French composer and upright bass player Florent Ghys should release an EP with Cantaloupe Music. With two degrees in ethno-musicology from schools in Bordeaux, and studying double bass under Thierry Barbe in Paris, Florent participated in the Bang on a Can Summer Festival in 2007 and joined a welcoming community of new music composers and musicians . Upon returning to France, Florent felt musically isolated - of being out of tune with his new environment - and immediately began writing.

Though not intending to compose a solo for himself playing the upright bass, the purpose was to create a "multiple-me" ensemble, as he calls it. "I know multi-track recording will never replace live recording," says Florent, "but multi-tracking was an interesting starting point to see if I was going to change my compositional process while writing strictly for me - after all, the instrumentation for the EP was linked only to the instruments I can actually play. I could have an upright bass, a bass, a guitar, an electric guitar, a voice. I could also use a pianino (a small 6 octaves piano) and hit some dishes in my kitchen."

As a composer, Florent works in a style situated between contemporary and pop music, creating tonal masses with or without pulsation. It has often been said to resemble American minimalist music, which makes him a complementary addition to the Cantaloupe coterie.

He has collaborated with different ensembles and musicians such as Dither quartet, Abigail Fischer, and Eleanor Oppenheim in New York, The F(x) in Miami, and has written music for both video projects and websites.

Baroque Tardif: Soli is the first release by Florent Ghys on Cantaloupe. He will be releasing a full-length album in September 2011.

Notes From the Composer

In 2007, I returned to my hometown of Bordeaux, France, and decided to record a CD.

I soon asked myself: What would I write if I had to write for an ensemble in which I am the only player?

The reasons for this schizophrenic question are multiple. Returning to Bordeaux from Paris, I had the feeling of being musically isolated - of being out of tune with my new environment - and I couldn?t stop writing. I was also interested by the idea of breaking the boundary between the composer and the musician, and the feeling I had of sitting in the audience while my music was being played onstage wasn?t, to be honest, all that satisfying.

I didn't intend to compose a solo for myself playing the upright bass, nor did I intend to compose a piece for me and a fleet of clones, but I did intend to create a "multiple-me" ensemble.

I know multi-track recording will never replace live recording, but multi-tracking was an interesting starting point to see if I was going to change my compositional process while writing strictly for me - after all, the instrumentation for the EP was linked only to the instruments I can actually play. I could have an upright bass, a bass, a guitar, an electric guitar, a voice. I could also use a pianino (a small 6 octaves piano) and hit some dishes in my kitchen.

Doing everything by myself - from composition to cover design - was also a way to take time and to control everything, as opposed to the experiences I had in the past with rushed rehearsals, bad recordings, etc.

In retrospect I can say it's also revealing of the recent social changes we've had in France shifting from a collective atmosphere to an increasingly individualistic society.

For more information on Florent Ghys, please visit his artist page here.