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In all likelihood Debussy would have welcomed the idea of his works being brought up to the minute one hundred and fifty years later by artists who knew no boundaries. After all, as the harbinger of musical Impressionism, this is what he too strove to do. Harpist Anastasia Razvalyaeva, singer Veronika Harcsa, and guitarist and sound designer Márton Fenyvesi made contemporary transcriptions from Debussy’s finest chansons in which everything becomes possible. These works, which the composer wrote to poems by Paul Verlaine and other poets, are seen in another light, thanks to the airiness of the harp, and to a more declamatory vocal technique than in classical singing, while with the live electronic effects they go through a veritable paradigm shift.
Claude Debussy hätte wohl die Idee begrüßt, seinen Werken 150 Jahre nach ihrer Entstehung durch Künstler*innen, die keine musikalischen Grenzen kennen, neues Leben einzuhauchen, denn genau das war auch das Ziel des musikalischen Übersetzers und Impressionisten. Harfenistin Anastasia Razvalyaeva, Sängerin Veronika Harcsa und Gitarrist und Sounddesigner Márton Fenyvesi transkribieren auf ihrem gemeinsamen Album Debussys Lieder in eine zeitgenössische Sprache, wobei sie sich keinerlei Beschränkungen durch Konventionen oder Genres unterwarfen. Durch die Luftigkeit der Harfe, die eher deklamatorische statt klassische Vokaltechnik und die live gespielten Elektronikeffekte erscheinen die zu Gedichten von Paul Verlaine und anderen Lyrikern geschriebenen Werke gleich einem Paradigmenwechsel in völlig neuem Licht.
Veronika Harcsa – vocals
Anastasia Razvalyaeva – harp
Márton Fenyvesi – live electronics, guitar
EUROPE EXCEPT FOR HUNGARY
"There was absolute silence during the songs such was the concentration of the audience least they miss a note. If Sirens ever existed Harcsa would definitely be one." Jazzwise
“This is probably one of the most unusual approaches to Claude Debussy’s songs. (…) It puts them in a completely new futuristic context.” Jazzthing
“New multifaceted interpretations in a radiant sound design. Debussy Now! is a real audiophile pearl.” lowbeats.de
“..an exciting trio of players from Hungary reimagining the music of the great Claude Debussy..” “…the way that this trio has treated the material is with great devotion to the original work but also applying an almost dub-like process improvising with effects and electronics to create almost a new version that is both intriguing and very connected to the work and the meaning of the work itself..” BBC Radio3
“They give a new life to this music, it’s an anti-musealisation.” Jazz Podium
“(the artists) approached each other at the crossroad between classical music and jazz. Veronika Harcsa is searching for a sound between the natural and the classical voice. She especially found it in ‘Fleur des blés’, where Debussy’s melody seems to be growing out of the improvisation.” Jazzthetik
“You may not count the ‘jazzifications’ of Claude Debussy’s music any more these days. But this one is different thanks to Veronika Harcsa’s bewitching voice, that merges in a unique way with the debussyan melodies.” 4 star review in JAZZ Magazine, France
"We were not aware how much we needed this album. (...) We would have missed the voice that this release represents." fideliu.hu - major Hungarian cultural site
"For me this is the album of the year out of some seventy releases that I heard this year. Including the ones that I'm featuring." Kristóf Weber, classical composer, for revizoronline.hu - main cultural review site in Hungary