Reinier van Houdt - Bruno Duplant - Lettres et Replis (elsewhere 008) HD
Lettre 1 (excerpt 1) / Replis 1 (excerpt 2)
Reinier van Houdt - Bruno Duplant - Lettres et Replis
1. Lettre 1 11:02
2. Replis 1 9:44
3. Lettre 2 8:31
4. Replis 2 8:08
5. Lettre 3 8:00
6. Replis 3 12:47
Lettres et Replis (2017-2018)
scores by Bruno Duplant
composed and realized by Reinier van Houdt
piano recorded by Kees van de Wiel at Willem Twee Studios in Den Bosch on January 22, 2019
and Reinier van Houdt in Rotterdam on August 8, 2018
field recordings by Reinier van Houdt made on John Cage's 100th birthday on September 5, 2012 along the Maas Harbour in Rotterdam
mixed by Reinier van Houdt
mastered by Bruno Duplant
design by Yuko Zama
produced by Yuko Zama
p+c 2019 elsewhere music
Bruno Duplant's scores 'Lettres (pour Reinier van Houdt)' (2017) are three letter-form scores personally addressed to van Houdt containing letter sequences distributed across the page. 'Trois replis d'incertitude' (2018) are also three letter-form scores but with the notion of 'repli' (meaning 'fold' in a Deleuzian postmodern baroque sense as well as 'withdrawal' of incertitude and reactionaries toward the neglect of ecology, humanism, and culture). Duplant's scores also reflect Mallarmé's notion of textual space and chance, leaving a large room for the interpreter/performer.
Van Houdt’s realization of these scores are like his ‘reading’ and ‘replying to' Duplant’s scores, with composing three ‘Lettre’ pieces with multi-layered recordings of his piano sounds, and three ‘Repli’ pieces with his piano recordings and his field recordings. Van Houdt’s delicately nuanced piano sound, translucent overtones and rich resonances increase nostalgic colors and melancholic shadows as the record develops.
“I composed my realizations around the fundamentals of reading and writing. The Lettres are connected to melody spelled out and read in all directions propulsed by memory and gaze. The Replis are connected to the harmonies from a place as they permeate and unravel through the metaphorical holes made by writing, linearly arranged again with recordings of a walk along the river that traverses this place. Letters cannot be erased, they affirm the materiality of language. Words (like music) are not envelopes containing clear messages, nor are they loaded guns as Sartre would have it. The possibility of meaning is rooted in the dark side of language where destruction and meaninglessness precede all possible worlds.” (Reinier van Houdt).