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Cloud Call Center Community Featured Article

TMCNet: Raising the rafters with instruments that rarely see center stage: Trio ImpertinAnce and Christof Lauer play a stellar set on saxophone, tuba, vibraphone and drums

[December 12, 2009]

Raising the rafters with instruments that rarely see center stage: Trio ImpertinAnce and Christof Lauer play a stellar set on saxophone, tuba, vibraphone and drums

Dec 12, 2009 (The Daily Star - McClatchy-Tribune Information Services via COMTEX) -- REVIEW BEIRUT -- Pity the poor tuba. While its throaty parp is an essential component of orchestral works and brass band tunes, players of the instrument are most often wedged into the back of ensembles, their contribution less attention-grabbing than that of their shriller colleagues.


The tuba has moments in the spotlight, notably in providing a thundering sense of danger in Igor Stravinsky's "The Right of Spring" and Richard Wagners "Ride of the Valkyries." Ralph Vaughan Williams even wrote a concerto for the oversize horn.

Michel Godard's performance on Thursday night took the instrument into a new domain of flamboyance. His gleaming turquoise instrument signaled that this was to be no ordinary tuba recital, and the range of sounds he extracted from the instrument was indeed astonishing: The zoned-out warbling of a didgeridoo was suggested, as well as bizarre noises that might be heard underwater or from afar.

Godard was in town alongside his colleagues in the ImpertinAnce trio, Franck Tortiller and percussionist Patrice Heral, as well as the German saxophone ace Christof Lauer.

In a joint venture from the Goethe Institute and the French Cultural Mission, the four musicians played Tripoli's Safadi Foundation on Wednesday and Assembly Hall at the American University of Beirut (AUB) the following day.

The tuba wasn't the only neglected instrument to see fresh life. Tortiller is a player of the vibraphone, a mallet instrument similar to the xylophone but with aluminum bars rather than the xylophone's wood. It's not every day that audiences are able to see the vibraphone in action.

The four musicians are adepts of the kind of free improvisation that sees them pushing the boundaries of their instruments to discover sounds and effects that aren't exploited in the conventional repertoire.

Audience members concerned about sitting through a program of impenetrable noise, however, soon discovered there was nothing to worry about. The rip-roaring set was brimful of joyous melody and thrilling rhythm, the weird and wonderful effects only serving to heighten the aural pleasure.

Lauer and the ImpertinAnce trio launched straight into the action with a pulsating, raucous tune that sounded midway between a number from a Broadway musical and a snippet of car-chase music from an old movie.

The cavernous, church-like interior of the AUB Assembly Hall is a difficult space for a musician to fill -- many fine players have been defeated in the past. The Fraco-German quartet, however, soon demonstrated their ability to raise the rafters rather than get crushed under their weight.

After a breakneck 15 minutes in which every second felt like a crescendo, the tempo cooled and Tortiller embarked upon a vibraphone solo. Despite Tortiller's energetic hammering of the keys, his instrument never sounded over-excited. Instead, it emitted throbbing peals of sound that hung in the air.

Lauer's piping was top-notch, whether racing up and down the keys of his saxophone or creating dizzying whirlpools of sound on his clarinet. During more reflective moments, his flaring, moody sax added a wonderfully melancholic not to the proceedings.

Godard drew enthusiastic applause in a series of virtuoso solos. One passage saw such a vivid evocation of the cries of jungle animals that one expected a David Attenborough voiceover at any second. Another sequence saw an endearing succession of deep bouncy notes and elephant-like trumpeting, causing chuckles among the audience.

Heral, the percussionist, contributed admirably to the ensemble throughout with fiery drum rolls and hissing cymbals. Only in the final number, however, did he really get a chance to shine.

Evoking the mid-1990s singing sensation Scatman John, Heral rapped with incredible speed into the microphone over a background of recorded beats.

With electronic trickery, he recorded snippets of his own vocals and percussion, layering them over one another in repeated strings to create a soundscape that veered between rap, disco stomp, folk song, glam rock and opera.

Soon his colleagues galloped back into the fray for one last heart-racing romp.

Lauer's clarinet competed with Heral's vocals to attain the wildest wail while Godard plucked at a bass guitar.

The quartet evinced such a palpable sense of enjoyment that a standing ovation felt like the only possible reaction; Thursday night's audience duly rose to their feet.

To see more of the Daily Star, or to subscribe to the newspaper, go to http://www.dailystar.com.lb. Copyright (c) 2009, The Daily Star, Beirut, Lebanon Distributed by McClatchy-Tribune Information Services. For reprints, email tmsreprints@permissionsgroup.com, call 800-374-7985 or 847-635-6550, send a fax to 847-635-6968, or write to The Permissions Group Inc., 1247 Milwaukee Ave., Suite 303, Glenview, IL 60025, USA.

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