Souffles du monde / Henri Tournier
Breadth of the World
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Accords Croisés AC 154
2015
[56:00]
1. Karaburan [3:49]
Enkhjargal Dandarvaanchig / Mongolie
2. Peren Pawan di San [4:47]
Abida Parveen / Pakistan
3. Fujin [0:55]
Japon
4. Chidori no Kyoku [5:28]
Etsuko Chida / Japon
5. Gham-e-Hejran [5:52]
Alireza Ghorbani / Iran
6. Bansuri mélopée [0:33]
France
7. Muito faz grand'erro [6:13]
CSM 209
Anne Marie Lablaude, Dominique Vellard / France
8. Ateni naya [4:52]
Dorsaf Hamdani / Tunisie
9. Raga Shri [7:03]
Pronab Biswas / Inde
10. Xuân [4:49]
France
11. Aquilons [5:04]
Carole Hémard / France
12. Beshnaw az naï [5:10]
Mahwash / Afghanistan
13. Uyangalag salkhi [2:18]
Enkhjargal Dandarvaanchig / Mongolie
Mapping a territory, a cartographer knows the resulting map may still
contain areas unknown. But one assumes that all the details will be
readable and, at worst, there'll only be some small inaccuracies
pertaining to a few secondary roads...A western classical and Indian
flautist, Henri Tournier was, a priori, well-prepared to invite ten
singers albeit singers from dissimilar practices and traditions to work
with him. On a project which would gather together so many varied
themes for an album. And when he first set out on the Souffles du monde
project, he could have believed himself to be in known territory. For a
transcultural adventure of this type, everything begins with the most
obvious questions.
"We had to bring together a number of cultural styles", explains
Tournier. Should one keep within oneself one's own style? Seek to
insinuate it within? Or try and take it elsewhere? And all sorts of
further questions arise: of intonation, accuracy, ornamentation. Then
there are also questions about notational music and improvisation. And
all this is multiplied by ten because there are ten singers.Those ten
singers being Dorsaf Hamdani (Tunisia), Alireza Ghorbani (Iran), Pronab
Biswas (India), Ustad Farida Mahwash (Afghanistan), Abida Parveen
(Pakistan), Enkhjargal Dandarvaanchig alias Epi (Mongolia), Etsuko
Chida (Japan) and three European singers: Anne-Marie Lablaude and
Dominique Vellard, from the world of medieval music, and Carole
Hémard, from the world of contemporary classical music.
And the encounters with each of those singers one-by-one, over time
revealed to one of today's greatest flautists that the map previously
believed to have been faithfully drawn contained a vast blank area.
Most traditions know no other relation between the flute and voice than
that of accompaniment, notes Tournier. Put another way: most traditions
do not conceive of an autonomous discourse for the instrument when it's
in the presence of the voice. And it's not just a question of custom or
habit: In general, the flute is in the service of the voice and that
determines also a singer's relationship to what's going to be played.
Henri Tournier's musical activity being astonishingly diverse, he knows
exactly how to play in many situations. So how does he spend his days?
"Half of my time is devoted to Indian music, a quarter to Western
improvisational and contemporary music, and another quarter to musical
encounters in the domain of world music. In daily practice, things are
very intermingled: I can work on Bach with an Indian bansuri flute and
on Indian music with a Western flute".