If I was asked to point my favourite compositions written for percussion, this piece would be one of them. If there is a question about prefered composing style, I would be certainly sure that Georges Aperghis is amongst my beloved composers. In fact, it is not only about his music. Mr Aperghis is a fanastic persona and it was a great pleasure to work with him at the Impuls Academy 2013. This fact has a great impact on my development since then.

I must mention, few years ago I was not really positive with Georges’ pieces, including “Graffitis”. But I know it was because I did not undrestand. I have started appreciating the quality of composition and performing side of it after working on his percussion trio “Les Guetteurs de Sons”. This musical language is special and brings extraordinary qualities.

I like the idea of being restrained about the background story in order to keep spectator’s focus. Being convincing while performing has a different dimension this way. Spectator is the last cell of the performance and he should be able, and eager, to create his own scenario, so to speak.

At one of my concerts in Copenhagen I was asked what sort of language am I speaking from the begining of the piece until the german-recitation part. This brought me to conclusion, that this part might not only be an onomatopeic declamation, but an artificial-babble-monologue almost with a meaning. As a matter of fact, we very often guess what is said by a person who speaks a language unknown to us. Or, at least, we know what feeling or meaning is hidden there. Don’t we?

In my Debut program, “Graffitis” happened as the last piece before the break. It was also the last part of an intimate-performing-music segment. After “Mani. Gonxha” by Pierluigi Billone there was a marimba composition by Salvatore Sciarrino “Il legno e la parola”. Aperghis’ piece was there in order to introduce a bit of spice and humor after Billone’s prayer and Sciarrino’s very quiet and airy marimba music. A conclusion of this abstract segment of my show.

One “small” difference comparing to the original score: this is a “wine-version”….if you know what I mean 🙂

Here is a word from my Debut program:

A brother-piece to an earlier composition “Le corps a corps”. And in the same manner, percussionist is both the narrator of an epic story and the central character in the play. It reflects a fictional combat between musician, instruments and his own breath. The Goeathe’s “Faust” text is used here, for some reason (you may choose). So, it may be in the same way as graffiti on the public property; a metaphor of fight, of opposition, an expression of underlying social messages; or simply an artistic action. Just picture a long wall with writings and drawings from simple words to sophisticated art, and you studying them while passing by. This piece is written for Gaston Sylvestre in 1981.

…and a link to my clip:

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