{"id":766,"date":"2014-11-11T23:39:56","date_gmt":"2014-11-12T04:39:56","guid":{"rendered":"http:\/\/szsolomon.com\/szswp\/?p=766"},"modified":"2014-11-11T23:40:45","modified_gmt":"2014-11-12T04:40:45","slug":"georges-aperghis-le-corps-corps-1978","status":"publish","type":"post","link":"http:\/\/szsolomon.com\/georges-aperghis-le-corps-corps-1978\/","title":{"rendered":"Georges Aperghis, Le Corps \u00c1 Corps (1978)"},"content":{"rendered":"

Georges Aperghis,\u00a0Le Corps \u00c1 Corps<\/i><\/b>\u00a0(1978)
Georges Aperghis’ Le Corps \u00c1 Corps (literally ‘body to body’ or also ‘neck and neck’) takes a race car track as its setting. The performer plays many different roles: the driver, the sports commentators, the audience, and even the car itself. Aperghis develops the material in an almost cinematic fashion, splicing the musical gestures and spoken text into smaller and smaller pieces and placing them closer and closer together as the drama unfolds and intensifies; these bit of material finally crash into one another as the piece hurtles towards its final bars. The music is periodically interrupted by long periods of silence which freeze frame the action and prolong the tension of a single moment. Scored for zarb (an small hand held Arabic drum) and spoken voice with numerous instructions for the performer’s physical movements, this, like many of Aperghis’ works, treads the thin line between music and theater.

-Samuel Solomon<\/p>

Text (translation from French by Matthew Gold):<\/p>

\r\nI. Ouverture<\/span><\/p>

II. Le R\u00e9cit<\/span>
Commentaire:
Before ten o’clock.<\/p>

\r\nCommentaire:
Before ten o’clock, surrounding the body.<\/p>

\r\nCommentaire:
Before ten o’clock, surrounding the body, having already run the length of the track, two sides, body to body.<\/p>

\r\nAction:
Before ten o’clock, surrounding the body, having already run the length of the track, two sides, body to body, the only visible action took place at the starting line where now and then a chariot surged, grasping the glittering helmet, bounding forward, wounding his arm, with each cloud of dust, and he descended, staggering from his burden that the pit crew rushed to fill with gasoline and to re-launch onto the track, with a clean rag upon his fresh wound, on his arm the blood flowing, immense cheers arise.<\/p>

\r\nThe bronze digging into the crack of the breast-plate, plunges into the entrails.
For another eighty kilometers of the circuit.
For another hour of brutal madness.
The bronze plate bracing their chests resonates horrifically, and from it spills a black blood that they wash with tepid water.<\/p>

III. La Lutte – The Struggle
<\/span>
Visit \u00a0aperghis.com<\/a><\/p>","protected":false},"excerpt":{"rendered":"

Georges Aperghis,\u00a0Le Corps \u00c1 Corps\u00a0(1978)Georges Aperghis’ Le Corps \u00c1 Corps (literally ‘body to body’ or also ‘neck and neck’) takes a race car track as its setting. The performer plays many different roles: the driver, the sports commentators, the audience, and even the car itself. Aperghis develops the material in an almost cinematic fashion, splicing […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[20],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5qnlH-cm","jetpack-related-posts":[{"id":578,"url":"http:\/\/szsolomon.com\/john-cage-27-10-554-percussionist-1956\/","url_meta":{"origin":766,"position":0},"title":"John Cage – 27′ 10.554″ for a percussionist (1956)","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"John Cage - 27' 10.554\" for a percussionist (1956)For multipercussion and electronicsLive performance, Juilliard School, April 2003Video is in three parts. Listen one at a time, or all at the same time! John Cage \u2013\u00a027' 10.554\" for a percussionist\u00a0(1956)27' 10.554\" for a percussionist\u00a0is the last piece of a collection of\u2026","rel":"","context":"In "Recording - Solo"","block_context":{"text":"Recording - Solo","link":"http:\/\/szsolomon.com\/category\/solo\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":570,"url":"http:\/\/szsolomon.com\/write-percussion\/","url_meta":{"origin":766,"position":1},"title":"How To Write For Percussion","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"How To Write For Percussion Published by the author, 2004 Second edition, Oxford University Press, 2016 PURCHASE\u00a0from\u00a0OUP\u00a0or\u00a0Amazon. How To Write For Percussion\u00a0is lauded\u2026","rel":"","context":"In "Book"","block_context":{"text":"Book","link":"http:\/\/szsolomon.com\/category\/book\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/szsolomon.com\/szswp\/wp-content\/uploads\/2016\/03\/cover2ndEd-210x300.gif?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2542,"url":"http:\/\/szsolomon.com\/sam-z-solomon-you-know-2018\/","url_meta":{"origin":766,"position":2},"title":"Sam Z. Solomon — You Know (2018)","author":"Samuel Z Solomon","date":"January 6, 2023","format":false,"excerpt":"Sam Z. Solomon -- You Know (2018)View the score You Know is a work for solo vibraphone with spoken voice, written in 2018 for Euphina Yap. The work plays with the idea of familiarity, identify, and how both can evolve with time and perspective. Ideas that may be or could\u2026","rel":"","context":"In "Recording - Solo"","block_context":{"text":"Recording - Solo","link":"http:\/\/szsolomon.com\/category\/solo\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":588,"url":"http:\/\/szsolomon.com\/donald-martino-soliloquy-2004\/","url_meta":{"origin":766,"position":3},"title":"Donald Martino – Soliloquy (2004)","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"Donald Martino -\u00a0Soliloquy\u00a0(2004)Live performance, Boston University, April 2011Donald Martino is well known as a 12-tone composer, but he also had firm footing in the world of Jazz, as is evidenced by many Jazz-influenced compositions throughout his career.\u00a0Soliloquy\u00a0for solo vibraphone is one such piece, although here the Jazz is significantly clouded\u2026","rel":"","context":"In "Recording - Solo"","block_context":{"text":"Recording - Solo","link":"http:\/\/szsolomon.com\/category\/solo\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1469,"url":"http:\/\/szsolomon.com\/keiko-abe-works-marimba\/","url_meta":{"origin":766,"position":4},"title":"Abe – Works for Marimba","author":"Samuel Z Solomon bts","date":"January 7, 2016","format":false,"excerpt":"Keiko Abe is undoubtedly the most influential marimbist and composer for the marimba that the percussion world has seen. She has combined five of her very popular pieces into this book. Keiko Abe\u2019s compositions are always virtuosic, requiring fast playing, quick dynamic control, and much musicality. Though performed somewhat less\u2026","rel":"","context":"In "Keyboard Solos"","block_context":{"text":"Keyboard Solos","link":"http:\/\/szsolomon.com\/category\/percussion-database\/repertoire-lists\/keyboard-solos\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":614,"url":"http:\/\/szsolomon.com\/yesaroun-duo-single-releases\/","url_meta":{"origin":766,"position":5},"title":"Yesaroun Duo – Single Releases","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"Yesaroun Duo - Single ReleasesFour world premiere recordings of pieces written for Yesaroun'.(click to skip down to recording)\u00a0Cody Wright - DayDream\u00a0Dennis Desantis - +8\u00a0Miriama Young - Snapdragon\u00a0Nico Muhly - Time After TimeLearn more about Cody at\u00a0codycomposer.comLearn more about Dennis at\u00a0dennisdesantis.comLearn more about Miri at\u00a0miriamayoung.comLearn more about Nico at\u00a0nicomuhly.comLearn more about\u2026","rel":"","context":"In "Recording - Yesaroun' Duo"","block_context":{"text":"Recording - Yesaroun' Duo","link":"http:\/\/szsolomon.com\/category\/yesaroun\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/szsolomon.com\/szswp\/wp-content\/uploads\/2014\/10\/yessingles-300x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/766"}],"collection":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/comments?post=766"}],"version-history":[{"count":2,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/766\/revisions"}],"predecessor-version":[{"id":768,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/766\/revisions\/768"}],"wp:attachment":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/media?parent=766"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/categories?post=766"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/tags?post=766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}