Piano Seven (1999)
SINGAPORE ARTS FESTIVAL 1999: PIANO SEVEN
Wednesday, 16th June 1999
Victoria Concert Hall
I. Convergence • LINDEMANN
II. The Valley of the Kings • VALLET
III. Sir Hill • REGAMEY
IV. Bangkok Special • GLAUS
V. Ectoplasm • BASTET
VI. Slalom 4 • ROGG
VII. Anis Breeze • BASTET
VIII. Rain & Sun • BASTET
IX. Across Manhattan • VALLET
X. Spock • AUDETAT
XI. Blue Hours • GLAUS
XII. Bantaey Srei • LINDEMANN
XIII. Mobicum • ROGG
XIV. Ya Basta • GLAUS
Encore:
Lanta Island • ROGG
PIANO SEVEN (Switzerland):
Pierre Audetat | Michel Bastet | Gaspard Glaus | Francois Lindemann | Olivier Rogg | Pierre-Luc Vallet pianos
Sebastien Risler piano (guest player)
with Cyril Regamey percussion
and Patrick Ciocca | Romain Rossel lighting designers
riginally conceived by pianists Francois Lindemann and Sebastian Santa-Maria as a one-off experiment for seven pianists playing together, Piano Seven has enjoyed such success that the concerts have had a second run and a Swiss-based ensemble was soon born. Now, thirteen years on, we have the pleasure of hearing this unique group, together with their guest soloists Sebastien Risler (piano) and Cyril Regamey (percussion). Their programme for the night is newly-composed by the very performers themselves, first performed only about a week ago in Europe; it was conceptualised as a musical suite of piano and percussion music of the twentieth century. And indeed, what a pleasant evening spent in the company of a talented ensemble.
Imagine the Romantic virtuosity of the Russian masters from Rachmaninov to Shostakovich; the exotic harmonies and quaint Orientalism of French Impressionists like Debussy and Saint-Saëns; and modern works for jazz ensemble, with infectious syncopation and jazz chords. Now take all of these together, and add in the element of exuberant fun and free improvisation, and you will realise just how much enjoyment exudes from the stage once the eight performers start playing.
The aptly-named opening piece, Convergence, is a slow but dramatic buildup, with one performer adding on another, until finally we get a full symphony of 70 instruments (if we consider each finger as playing one instrument). This piece and Bantaey Srei, the twelfth piece, are composed by the co-founder of Piano Seven, Francois Lindemann, whose style has a more noticeable lean towards what I suspect to be that of twentieth-century Russian composers.
The ‘circus music’ so advertised in the various introductions to the music of this group, is mostly written by Olivier Rogg: Slalom 4 and Mobicum. It is not difficult to imagine an outdoor carnival in full swing while listening to his music, with crowds cheering and balloons and streamers.
Michel Bastet is quite the opposite: his compositions (Ectoplasm, Anis Breeze, and Rain & Sun) have an elegiac dream-like quality. Ectoplasm makes use of a technique gleaned from the ‘prepared piano’ – using fingers to directly strum on the open metal strings of the grand piano, creating a haunting effect not unlike a harp, but much more surreal.
Piano Seven had an almost complete percussion section for this show, with two timpani, snare drum, tenor drums, various cymbals, a marimba, a bell tree, wood blocks, and many other knick-knacks that only percussionists would know, but which make so much difference to a piece. And all these instruments played by a single person: Swiss percussionist Cyril Regamey gave a dazzling performance in all the pieces, and no less in his own compositional for this evening, Sir Hill. Cyril’s study in rhythm is amply reflected in his choice of motif: middle C, repeated on the piano in an odd and difficult syncopated rhythm. He himself had an extended solo section in this piece, and another in Across Manhattan. In both, he expounds his mastery over his treasure trove of instruments: without smashing, clattering or ear-bursting decibels, Cyril dazzled with impeccable technique and earnest showmanship.
However, what caught the spirit of Piano Seven’s show tonight was the performers’ ability to improvise, to build up an atmosphere, and to show a sense of fun. Most, in fact all, the pieces have an element of jazz, either in the rhythm or in the harmonies or both, and in many instances one performer improvises over the accompaniment based on motifs or chords. Cleverly-designed lighting using multi-coloured lights from the ceiling and the floor accentuated the mood of the pieces and provided an atmospheric backdrop.
Clearly, the infectious sense of fun that this group displayed was reflected in the music they play, and many pieces simply beckoned you to stomp your feet along, while others exude an unquiet solitude. And it was evident that the audience was not the only ones enjoying themselves – the players were aglow too with joy, from the casual and informal presentation (no tailcoats) to the smiles on their faces and the way they jogged off the stage with springs in their strides.
(postscript: the author is very honoured that this review has been reproduced — in full! — on Piano Seven’s website. He just found out in 2008.)
