Musique De Chambre

VARIOUS

The advantage of a monographic album that is organized without chronological concern, is that it allows us to emphasize a style permanency as well as a thought coherence. When listening to these seven pieces composed by Bruno Giner between 1987 and 2014, we could be tempted to take back his former professor Ivo Malec’s definition: “The authentic composer is the one capable of creating a certain type of communicable reference because of its consistency.” The fundamental reference of Bruno Giner’s creative approach, is the “absolutist” exploration, we could say, of instrumental timbres. This is to such an extent that we obtain, through the metamorphosis of sounds created by different modes, a complete uncertainty on the identity of the transmitting source. In that, the Catalan Giner reached beyond the Pyrenees and the century to Basque Ravel who understood “fooling the listener” by the complexity of his combination of timbres. The orchestral dimension of this piece of work is surprising as the generous and diverse range of sounds produced are not of an orchestral scale, rather by soloists, duets, and trios.

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