Jordi Savall overwhelmed by his good feelings

Photo: Sylvain Légaré
You will recognize the quality of the musicians gathered for the project “the slave route”.

The humanist project of music of Jordi Savall and to reawaken our memories around slavery saw the light of day in 2015, when it was filmed at the Abbey of Fontfroide. The story of four centuries — 1444 corresponding to the first expedition documented capture of mass and 1888 at the date of the abolition of slavery in Brazil — makes beautiful narrative and a strong dominant traditional music.


To present The routes of slavery, 1444-1888, the organizer of the concert Traquen’Art won the Maison symphonique de Montréal. We wondered a little what good is, since the acoustic parts of the concert were a paltry portion, approximately 15% to 20% (The Negrina de Mateo Flecha, Fray Filipe de Madre de Deus and two beautiful extracts from the Codex Trujillo, document peruvian Eighteenth). The project amplified could very well be content with the Theatre Maisonneuve, this time.


A mess


Jordi Savall is headlining, promoter and co-ordinator of the slave route. But in addition to a brilliant presentation text and a meticulous choice of the musicians, what are all its musical talent and the musicians of Hespèrion XXI and la Capella Reial ?


It was beautiful to be open to the mix of genres, and I am, there is a time when we must stop pretending to pretend that everything is worth it. Thus, when the two protagonists had completed the first part of their Dance of the iguana, and that my wife, lost in the program, I was slipped a ” It is where ? “my mind, highly caustic could not help but answer him :” At Club Med!”


The project of the slave route hand, of course, very good feelings. The concert of Montreal has proven that, compared to the disk, so that it is available very easily, with a wide range of choice of texts and music that can be added, such as gospel songs the elders sung by The Fairfield Four, the north american continent, obliges. I’m not sure that the imbalance induced by these gospels compared to the coloration of south america’s more refined of the project has been, ultimately, profitable.


Other elements incomprehensible accumulate. Why the edicts of the Code noir of Louis XVI, are they followed by a south american folk music and why have a samba connects to a text of Abraham Lincoln ? The vision for the show, compared to previous projects of Jordi Savall, the slave routes presents in fact another hiatus, major. In the past, about historical various, were relayed through a musical journey historically identifiable and scalable, so that here one is supposed to walk through four centuries that there is nothing to distinguish in terms of sound or aesthetic.


As for the problem the ultimate and fundamental Routes of slavery, it is simple : it is the disappearance of the musician Jordi Savall behind his idea, such as “Mother Teresa of the music of the Earth” whose mission would exceed the person and the item for me, This is the ultimate step after which I will follow more. Because what interests me, this is Jordi Savall and the musicians. He has too much knowledge, too much talent. And there’s too much repertoire to discover and play. If he wants to convert by missionary or manager, so much the better for him. Me, I’ll play the recording when we play music, not when it will be passive spectator of its own humanitarian projects.


As for the finish, we recognize the quality of the musicians together and we can only regret that the narrator, Fayolle Jean, did not give the impression of having potassé the texts before the show. Was it only consciousness, with its tinkering of violation, the project on which it is incorporated, who is Jordi Savall and what is the degree of perfectionism ?

The slave Routes, 1444-1888

Music baroque of South America. Traditional music including Mali, Brazil, Mexico and Colombia. Hespèrion XXI, La Capella Reial de Catalunya, The Fairfield Four (Usa), Tembembe Ensamble Continuo (Mexico/Colombia), direction : Jordi Savall. With : Fayolle Jean (narrator), Kassé Mady Diabaté (voice), Ballaké Sissoko (kora) and the singers of Mali — Rajery (valiha and voice ; Madagascar) — Driss El Maloumi (oud and voice ; Morocco) — Maria Juliana Linhares (soprano ; Brazil), Zé Luis Nascimento (vihuela, Leona ; Brazil), Adriana Fernández (soprano ; Argentina), Iván García (bass ; Venezuela). Maison symphonique de Montreal, Tuesday, 14 November.

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