Leonel Kaplan plays the trumpet exclusively by focusing his approach on the rustling of the air column, the metaphysics of the tubes in a way (to paraphrase Amélie Nothomb): by playing with multiple pressure levels of the lips and the meticulous closure of the orifices with the pistons, he obtains a range of nuances, dynamics, noise, stamps rather leaded than copper, as they evoke piping. Birgit Uhler, replies by adding to his remarkable work on the trumpet, the use of a radio, a speaker and objects as generators of sounds. One in the right channel and the other in the left channel, hence the title Stereo Trumpet. What has always fascinated me about Uhler is this remarkable rhythmic articulation with which she brings to life this introspective and almost disembodied sound expression. Stereo Trumpet's static drones are the place of insistent tonal changes, fluffy vibrations, a livid breath. The juxtaposition of the individual timbres creates a sound current where the mark of the personal act and that of the virtuosity disappears. Because this virtuosity only appears to practitioners who know the difficulty of the perfect crescendo without smudging. Instead that every duettist stays on guard by distinguishing himself from his partner with his own musical personality in a give and takewell defined, we plunge here into a fusional whole in which the listener clearly distinguishes the sounds without being able to attribute their origin to one more than to the other. A music that evokes austere electronics, a bluish greyness through which it is necessary to listen to the slow changes of density, color, speed, and the eruption of an unpredictable gurgling. Birgit Uhler and Leonel Kaplan create the conditions for another listening with a talent in a renewed temporal and auditory dimension. Really remarkable.
Jean-Michel Van Schouwburg