Marin au Passage de Lyroise (2022) - Aaron Karila (*1986)

Marin au Passage de Lyroise (2022) for Small Chamber Ensemble - Aaron Karila (*1986)
@aaronkarila7541
Audio by Harold Bergsma.
www.haroldbergsma.nl/
Video by Martijn Hak.
@manomediapictures
Recorded on November 17th 2022 @heronroadstudios1793 in The Netherlands.
Please contact the composer at / aaron.karila to purchase the scores.
Organised and recorded by Xander Benham.
www.xanderbenham.com/
If you are interested in any type of recording work please do not hesitate to contact us.
Performed by:
Composer and Conductor Aaron Karila
Flute - Iara Pelli
Oboe - Rui Guo
Clarinet in Bb - Bruno Gonçalves
Bassoon - Erney Barboza
Trumpet in Bb - Kler Iagolnitzer
French Horn in F - Christian Fisalli
Violin - Zuzanna Skowrońska
Violin - Inês Díez
Viola - Beatriz Torres
Cello - Irene Cancer Navarro.
Double Bass - Edgar Milhões
Notes from the composer:
This piece is composed as a painting, the character of the sea of Iroise, bordering the western coasts of Finistère, in Brittany. The title "Passage de Lyroise" is voluntarily used because it allows us to situate ourselves at the beginning of the 18th century (Nicolas de Fer named it thus in his cartographies).
The particularity of this sea is that it is one of the most difficult maritime zones in Europe. The play tries to show the whims of this child of the Celtic sea. A small passage from "Ocean's Song" written by the famous navigator Olivier de Kersauson (Arthaud editions) describes in a lively and raw way the spirit of this water:
"The Iroise, hey hey, it's something else. It is the kingdom of oil painting. Four seasons in the same day. It's sharp, violent, cut cleanly as with a butcher's sheet. It's almost a Pierre Soulages-style black that makes you shiver. Then, in the fifteen minutes that follow, the sky opens up and turns to metal gray. Then, again, it frowns and turns to black, marked by a golden border on the horizon."
I chose to write this piece to challenge myself to write atonal music, treating the dissonances in a "distant" way of one, two or three octaves in order to soften them, to write melodies in "hoquetus", to compose with the tempi, by integrating the direction of orchestra in the composition and by using formation of orchestra known as traditional (even if the instruments are by 1 and that there is no timpani), because I always had this desire to be able to make listen to this music to a broad public and not only to a public of initiated.
The structure of the piece is simple, in 7 parts:
A: the eventful welcome of the sea
B: the waves on all sides
C: the softness of the sea of Lyroise and the agitation
D: the waves
E : the playful and childish side of this sea
F : the effervescence (a combination/development of the motifs of A and B)
G : a slow coda describing the boat marked by this crossing
Please enjoy,
Xander Benham.

[@aaronkarila7541]

Une expérience et des rencontres exceptionnelles !!!merci à tous les musiciens et à Xander Benham!!!!

[@edgarmilhoes7344]

* Edgar Milhões

[@xanderbenhampianistcomposer]

Fixed, apologies.