Satie en Orient
A Musical Journey into the Imaginary Orient
It may seem strange at first to have oriental instruments
play the music of a composer who personified the
French genius, albeit in a highly personal way,
better than most others.
But these instruments throw a new light on Erik Satie's
fine intuitive approach when he was in the process
of creating his personal and utterly personal language.
His vision was dreamlike, and in a single fleeting
and furtive passage, there are evocations
of the Middle Ages, Ancient Greece and the Orient.
Satie experienced the end of a century, during which technological and scientific progress
as well as social upheaval
have accelerated to a breathtaking tempo. Like many others, he tries to turn back by immersing himself in the past and
the far-away and by creating Middle Ages, mysticism, religion and Orient as his personal private psychological landscapes,
only to realise - like we ourselves at the end of the millennium - that it was merely love from afar.
Pieces in the program:
Erik Satie: Gymnopédies / Gnossiennes / Chansons Médiévales / Sonneries de la Rose + Croix / Uspud / Prince de Byzance
«Miriam Andersén - also on harp - almost supernaturally dominated the performance
with her mystically dark yet radiant
voice that pervaded the hall like ocean surf, exultant but tearing everything with it …
A delicious and, above all, relaxing evening!» Sabine Fauland,
Kronen Zeitung (Austria), 22.06.2004
«… The choice of repertoire, the congenial orchestration and the empathetic,
imaginative musical performance turned this
evening not only into an exceptional experience, but also into balm for the soul. The audience felt greatly enriched.»
Klaus Winterberg, Kölner Stadtanzeiger (Germany), 20.02.2003
«Nothing compares to Ivanoff's art of playing the frame drum … » Franzpeter Messmer, Fono Forum 11/2000
«Ivanoff crosses borders and thus finds a new music which transfers our dreams about the Orient into a soundscape.»
Franzpeter Messmer, Fono Forum 11/2000