Since the composer Claude Vivier’s death in 1983, at just 34, his work has hardly been obscure. His music, shimmering with the spacey solemnity of childhood games, was taken up by influential figures like the impresario Pierre Audi, the composer Gyorgy Ligeti and the conductor Reinbert de Leeuw. In 2005, the publisher Boosey & Hawkes began overseeing and promoting his scores.
[Read more about Vivier’s “death-obsessed search for connection.”]
Yet he remains a figure more referred to than heard in performance. So it still counts as news that two major Vivier pieces were played in New York on back-to-back evenings this week, Tuesday and Wednesday.
The juxtaposition was a coincidence — given Vivier’s celestial leanings, we might say the planets were in alignment — but it was still a little landmark. “Listen to the throbbing of the stars,” the singers chant in his only opera, “Kopernikus,” which had its New York premiere at Issue Project Room in Brooklyn on Wednesday. We’re listening, more and more.
Once you have that image in your mind, in fact, it can be hard to let it go: Vivier’s music does often seem to evoke a starry throb. Close, mystical harmonies are tinged with microtonal dissonances that vibrate almost visibly. Waves of passion are cloaked in a shining, medieval purity — and a use of babbling invented languages — that feels otherworldly; the effect is simultaneously in and out of body.
The best Vivier performances capture his delirious, jeweled grandeur but also his modesty — the earnest intensity of his desire to communicate, even through nonsense syllables. At the DiMenna Center for Classical Music on Tuesday, the soprano Alice Teyssier was transcendently clarion and clear as the soloist in “Bouchara,” an elegiac 20-minute outpouring that’s like a Liebestod from the surface of Saturn; Ensemble Échappé flowed around her in transparent, quivering exhalations.
Written in the late 1970s, a few years before “Bouchara,” “Kopernikus” is larger scale — 70 minutes, for seven singers — and more mystifying. It’s not about Copernicus, for one thing; the story this “opera-death ritual” tells, barely, is of the fire god Agni, who moves abstractly toward the great beyond. The other six singers represent mythic-historical beings on Agni’s path, Mozart and King Arthur among them, without being characters in any traditional sense.
The plot is sketchy, to say the least, but Vivier did conceive a kind of drama — a protagonist, a progress. The American premiere in 2016, directed by Peter Sellars, made it a white-robed rite; other stagings have brought out dark clowning in the piece.
The Brooklyn production, featuring the Americas Society’s vocal ensemble Meridionalis and the International Contemporary Ensemble, conducted by Sebastián Zubieta, bent far in the opposite direction. The performers were placed behind the audience, which faced a looming screen on which was projected video (by Sergio Policicchio) of star-filled skies, rotating solar bodies and sun-dappled trees.
The musical performance was superb — alert to Vivier’s tumbling babble, lush yet lean in sustained drones — but there was intentionally (and, to my taste, overly) no sense of character, in favor of enveloping, sweetly apocalyptic sonic spectacle.
Without bodies to look at, what comes to the fore in the piece is, for better or worse, Vivier’s sincere, loopy libretto, which is in the tradition of his teacher, Karlheinz Stockhausen: “We are the migrants of the sacred galaxies,” “A cosmic flower is given to us to see at last,” and the like, along with pages and pages of invented language.
A longing for childhood permeates many works by Vivier, who was adopted at 3, never knew his birth parents, and thought of himself as something of an unceasingly isolated youngster. (It’s no coincidence that one of his finest works, sumptuous and plangent, is called “Lonely Child.”)
“In a crisis of civilization as profound as the one we are going through now on this planet,” Vivier said just before the premiere of “Kopernikus” in 1980, “the human being perhaps has a need of a return to the fetal state, an intimate one.”
That perpetual longing for the intimate state before birth is also, for Vivier, a perpetual longing for death. For anything, that is, other than adult consciousness.
It’s possible — at least I hope it is — to be seduced by his music without approving of his disdain for mature life. Perhaps the pleasure we find in it is vicarious: Vivier gets to be trippy and morbid and life-hating so that we can be, happily, the opposite.
Performed on Tuesday at the DiMenna Center for Classical Music, Manhattan.
Performed on Wednesday at Issue Project Room, Brooklyn.B:
合肥中特玻璃有限公司【林】【思】【言】【都】【能】【想】【象】【到】【纪】【如】【青】【那】【副】【样】【子】，【她】【肯】【定】【是】【气】【呼】【呼】【的】【蹲】【在】【地】【上】【慢】【慢】【收】【拾】，【嘴】【巴】【估】【计】【也】【没】【闲】【着】，【肯】【定】【在】【骂】【人】。 “【老】【婆】，【饿】【不】【饿】？【想】【吃】【什】【么】？【我】【给】【你】【买】，【或】【者】…【给】【你】【做】！” 【林】【思】【言】【肚】【子】【不】【饿】，【但】【是】【有】【点】【口】【渴】，【便】【说】：“【那】【你】【给】【我】【端】【杯】【水】【上】【来】！” “【遵】【命】，【老】【婆】【大】【人】！” 【话】【落】，【方】【靖】【昊】【便】【立】【即】【下】【去】【帮】【林】【思】【言】
【宋】【美】【玉】【不】【动】【声】【色】【的】【抽】【出】【了】【自】【己】【的】【手】，【微】【微】【一】【笑】。 “【你】【来】【的】【可】【真】【不】【巧】，【陆】【牧】【今】【天】【没】【在】【厂】【子】【里】，【他】【去】【市】【里】【开】【会】【了】。” “【啊】？【去】【市】【里】【开】【会】【了】【啊】？” 【怪】【不】【得】【自】【己】【等】【了】【一】【天】【也】【没】【等】【到】【他】【人】。 “【那】【大】【姐】【你】【知】【道】【他】【住】【哪】【儿】【吗】？【你】【们】【都】【是】【一】【个】【厂】【子】【里】【工】【作】【的】，【你】【一】【定】【知】【道】【他】【住】【哪】【儿】【吧】？【你】【能】【不】【能】【带】【我】【去】【他】【家】【找】【他】？”
【对】【于】【吴】【望】【的】【讽】【刺】，【纪】【夕】【朗】【没】【有】【生】【气】：“【大】【司】【马】【想】【要】【证】【据】，【下】【官】【自】【然】【是】【有】【了】【证】【据】【才】【敢】【来】【围】【司】【马】【府】，【下】【官】【虽】【不】【如】【父】【亲】【办】【案】【那】【么】【有】【经】【验】，【但】【这】【如】【何】【办】【案】【下】【官】【还】【是】【清】【楚】【明】【白】【的】。” “【是】【吗】！”【吴】【望】【眯】【着】【眼】【盯】【着】【纪】【夕】【朗】，【眼】【神】【变】【得】【阴】【狠】【起】【来】。 【就】【在】【这】【时】，【尤】【楠】【棋】【大】【步】【地】【踏】【出】【了】【司】【马】【府】，【直】【直】【走】【向】【纪】【夕】【朗】：“【纪】【司】【直】，【这】【是】【司】
【弄】【的】【另】【外】【一】【群】【接】【机】【的】【粉】【丝】【们】【纷】【纷】【爬】【墙】。 “【啊】【啊】【啊】【啊】【啊】，【这】【是】【什】【么】【长】【腿】【天】【团】【啊】？” “【走】【在】【前】【面】【的】【那】【位】【戴】【着】【墨】【镜】【的】【小】【姐】【姐】【是】【那】【位】【明】【星】【啊】？” “【如】【果】【这】【些】【长】【腿】【哥】【哥】【们】【出】【来】【营】【业】，【我】【只】【想】【说】，【我】【可】【以】！” 【陆】【老】【三】【听】【见】【女】【孩】【们】【的】【议】【论】，【朝】【着】【女】【孩】【们】【甜】【甜】【一】【笑】，【桃】【花】【眼】【一】【眨】。 【好】【多】【女】【孩】【瞬】【间】【捂】【着】【胸】【口】，【啊】【啊】【啊】【啊】合肥中特玻璃有限公司【叭】【叭】【叭】【一】【一】， 【叭】【叭】【叭】【一】【一】。 【哈】【哈】【哈】【一】【一】。 【身】【穿】【朱】【红】【凤】【纹】【月】【华】【裙】，【留】【有】【高】【锥】【髻】，【珠】【光】【宝】【气】【十】【足】【的】【山】【阴】【公】【主】【迅】【速】【扎】【马】【运】【气】，【挥】【动】【双】【掌】【垂】【于】【腰】【侧】。【张】【碧】【桃】【的】【玉】【拳】【打】【得】【公】【主】【胸】【口】【生】【烟】，【红】【衣】【起】【跳】。【而】【山】【阴】【公】【主】【就】【好】【像】【没】【事】【人】【似】【的】，【依】【然】【笑】【声】【朗】【然】。【透】【过】【她】【的】【青】【丝】【面】【纱】【依】【稀】【可】【见】【她】【那】【隽】【秀】【美】【丽】、【笑】【容】【可】【掬】【的】【容】【颜】。
【林】【羽】【现】【在】【应】【该】【还】【在】【病】【房】【吧】？ 【她】【忘】【了】【自】【己】【了】，【那】【她】【没】【走】【吧】？ “【你】【在】【这】【看】【着】，【我】【有】【点】【事】”【江】【扬】【突】【然】【起】【身】 【他】【现】【在】【就】【要】【去】【林】【羽】【的】【病】【房】，【看】【看】【林】【羽】【还】【在】【不】【在】，【亲】【眼】【看】【到】【她】【才】【能】【安】【心】 “【什】【么】【事】【这】【么】【着】【急】？” “【我】【去】【看】【看】【我】【媳】【妇】【还】【在】【不】【在】”【江】【扬】【说】【着】【就】【大】【步】【走】【了】 【看】【看】【他】【媳】【妇】【还】【在】【不】【在】？【他】【是】【故】【意】【在】【气】【自】【己】【吗】？
【九】【末】【对】【自】【己】【的】【更】【新】【有】【点】【逼】【数】，【所】【以】【推】【些】【书】【弥】【补】【一】【下】(づ●─●)づ NO.1 《【我】【是】【一】【把】【魔】【剑】》 【作】【者】：【无】【忧】【的】【舞】【曲】 【创】【世】【精】【品】，【连】【载】【中】…… 【内】【容】【概】【括】：【主】【角】【一】【穿】【越】【就】【被】【人】【抓】【去】【投】【炉】【炼】【剑】【了】，【然】【后】【在】【系】【统】【的】【帮】【助】【下】，【开】【始】【了】【魔】【剑】【之】【旅】。 【坑】【人】，【没】【得】【商】【量】…… NO.2 《【亏】【成】【首】【富】【从】【游】【戏】【开】【始】》
“【李】【国】【师】，【朕】【希】【望】【你】【明】【白】【自】【己】【在】【做】【什】【么】。” （【看】【过】【这】【一】【章】【免】【费】【版】【的】【不】【要】【订】【阅】，【这】【是】【原】【先】【刚】【发】【布】【一】【小】【时】，【被】【屏】【蔽】，【现】【在】【被】【起】【点】【放】【出】【来】【的】【一】【章】，【作】【者】【无】【权】【删】【除】，【只】【能】【提】【醒】。） 【女】【帝】【站】【起】【身】【来】，【冷】【冷】【的】【看】【着】【挡】【在】【萧】【晴】【雪】【面】【前】【的】【李】【然】，【凤】【目】【之】【中】【竟】【是】【满】【满】【的】【失】【望】【和】【幽】【怨】。 【李】【然】【的】【心】【中】【亦】【是】【五】【味】【杂】【陈】。 【这】【里】【的】【所】【有】