Recorded at Saint-Merry church (Paris) on june 28th 2018, by Baptiste Chouquet
Mastering: Pierre-Henry Etchandy


Sillons - Reflets
Patricia Bosshard
Onceim / CoÔ

track listing
Sillons (Patricia Bosshard, 2018)
Reflets (Patricia Bosshard, 2018)

Onceim (Orchestre de Nouvelles Créations, Expérimentations et Improvisations Musicales)
Contrebasses : Sébastien Béliah, Benjamin Duboc, Frédéric Marty
Violoncelles : Félicie Bazelaire, Anaïs Moreau, Deborah Walker
Altos : Cyprien Busolini, Elodie Gaudet, Julia Robert
Accordéon : Pierre Cussac
Guitares : Giani Caserotto, Jean-Sébastien Mariage
Percussions : Antonin Gerbal, Julien Loutelier
Piano : Alvise Sinivia
Electronique : Arnaud Rivière, Diemo Schwarz
Clarinettes : Jean-Brice Godet, Joris Rühl
Saxophone soprano : Stéphane Rives
Saxophones altos : Pierre-Antoine Badaroux, Carmen Lefrançois
Saxophone ténor : Bertrand Denzler
Saxophone baryton : Benjamin Dousteyssier
Euphonium : Jean Daufresne
Trompette : Louis Laurain

CoÔ (Ensemble des cordes frottées de l’Onceim)
Contrebasses : Sébastien Béliah, Benjamin Duboc, Frédéric Marty
Violoncelles : Félicie Bazelaire, Anaïs Moreau, Deborah Walker
Altos : Elodie Gaudet, Julia Robert
Violons : Cyprien Busolini, Patricia Bosshard

Listen Sillons extract

Listen Reflets extract

texte de pochette
 
reviews
   

texte de pochette

Avec Sillons je suis allée à la rencontre de chacun des musicien.nes afin d’enregistrer ce que je nommerais une cellule-cœur: Un son aimé, un geste, une petite phrase. La récolte fructueuse m’a permis de créer un champ de 27 sillons, petites rigoles profondes prêtes à se transformer subtilement au fil du temps.
Avec ces divers sillons, j’ai composé une pièce répétitive, envoûtante, qui, dans sa forme, évolue de l'individu au grand orchestre en passant par des groupes et sous-groupes réunis par affinités de matériau, de timbre, de son. Il en résulte une matière orchestrale d’une richesse inouïe, un champ de possibles où chacun des musicien.nes ne joue qu’avec sa cellule, malaxée, creusée et associée à d’autres cellules.

La composition Reflets s'articule autour des harmoniques. Les instruments à cordes frottées engendrent beaucoup d'harmoniques, ce qui constitue une de leurs richesses et la spécificité de leurs timbres. J'ai analysé quelles harmoniques ressortent suivant le mode de jeu : archet à mi-chemin entre le chevalet et la touche (habituel), archet près du chevalet (ponticello) et archet proche de la touche. J'ai redistribué ces harmoniques au sein de l'ensemble, jouées à différentes octaves, en tant que notes, en tant qu'harmoniques ou encore ponticello, générant ainsi de nouvelles harmoniques. Les modes de jeu sont définis par la volonté de créer une atmosphère qui oscille entre affirmation et suggestion, menés par une gestuelle répétitive qui laisse une part d'improvisation à l'interprète quant au son plein ou harmonique.

Patricia Bosshard

 


 

 

 


Reviews

The half-hour “Sillons” begins in a low-volume orchestral fog through which glimpses of coming motifs briefly appear. Antagonistic contrabass march. Strings’ siren whine. Scuffling saxophone. A brace of contrapuntal lines takes shape. The marching bass with string whine. Always flanked by the foreboding haze of a menagerie of extended techniques breathy and frictional. The music moves amongst other duets in similar scenarios as if in montage. Ebbing strings and war drums. Brass swells and scuffling sax. And these amass into a doomed and boisterous full-orchestra throb of growing density and volume exploding horns in full cry with big bass bombings and something like low-flying prop plane and the virulent swing of mingusian bellicose noir. But the swing is interrupted, faltering. And in its anti-climax the last third is a quiet dispersal.
The sidelong “Reflets” similarly begins as a cloud of strings in ambiguous movements. Its strokes desublimating into an ominous cadence with swelling volume and shifting yet merging overlapping relationships for a collective suspension of sounding to feel like an limitless looming expansion. Pyroclastic flow in slow motion. Underpinned by the beat kept by a belligerent contrabass, forcibly plucked strings thwacking against the neck. Again dissipating though closer to the end and to reveal birdsong as if these flying creatures were the only thing that could escape.
Keith Prosk l harmonic series l December 2021



Aside from the music, the best thing about this album is that its release signals the Potlatch label is alive and well. (Having released four CDs in 2016 and three in 2017, Potlatch released none in 2018, one in 2019, none in 2020.) In addition to this album, 2021 sees the release of a second, a duo album by Pascal Battus and Michel Doneda. Good news.

The music itself comprises two 2018 compositions—Sillons and Reflets—by violinist Patricia Bosshard, who was born in Switzerland, studied classical music in Montreal then composition and electroacoustics in Geneva, then jazz in Lausanne. The two pieces are, respectively, played by the 26-member orchestra Onceim (Orchestra des Nouvelles Creations, Experimentations et Improvisations Musicales)—which includes such experienced improvisers as Bertrand Denzler, Stephane Rives and Jean-Sebastien Mariage—and by the string ensemble CoO; Bosshard plays violin in both. This means that she knew the musicians she was writing for as she had frequently played alongside them. Sillons runs for thirty-and-a-half minutes, Reflets for eighteen-and-a-half. So, two different pieces for two very different ensembles.

Opening to the sound of slow resounding percussion, Sillons evolves steadily without any sudden movements or surprises along the way. The number of players in Onceim ensure that there are enough instruments present to easily fill out the soundscape. To Bosshard's credit, she uses them sparingly and sensibly so that they never sound as if they get in each other's way. Throughout, the heartbeat of the piece is provided by that resounding percussion, with other instruments layered above the pulse. Despite the presence of those improvisers, none of the music here sounds improvised; instead, everything sounds planned, with everyone knowing what they are doing, and all of the component parts combining together into an entrancing whole, one which handsomely repays repeated listening.

Although it is very different to Sillons, Reflets does have its similarities, despite all the instruments being strings. For instance, Bosshard makes good use of the three double basses at her disposal to lay down a solid foundation, with resounding bass sounds recurring throughout. Again, all the players contribute to the totality, with everyone doing their part and no one noticeably dominating. Together, the two tracks make this an album which will stand the test of time and merit frequent listening. Yes, Potlatch is back with a vengeance...
John Eyles l All About Jazz l November 2021