J Bach .S. / Estievenart / Romaniuk- Triptyque
Two very different musicians meet and realize that music is not limited to the genre they happen to perform. They touch the hearts of their listeners and in so doing realize that music is a universal language that transcends everything. (Marcel Ponseele) The three sections of this Triptych can be described as follows: the left-hand panel - Misery - depicts the vale of tears; Transitio on the right-hand panel represents a transformation in everyday life, whilst Transfiguratio, the central panel, portrays the brilliant colors of transcendental bliss. Jean-Paul Estiévenart is a Belgian jazz trumpeter whose career to date is surprisingly dense and diverse. His playing is nourished as much by his passion for the traditions and history of the genre as it is by modern experiments and free improvisation. His meeting with the eminent oboist Marcel Ponseele created no clash of contexts, as they both experience and talk about music in the same way. They have chosen to perform a selection of works - principally by Bach - in which each reacts to the other, altering the music slightly where necessary to allow space for improvisation.
Two very different musicians meet and realize that music is not limited to the genre they happen to perform. They touch the hearts of their listeners and in so doing realize that music is a universal language that transcends everything. (Marcel Ponseele) The three sections of this Triptych can be described as follows: the left-hand panel - Misery - depicts the vale of tears; Transitio on the right-hand panel represents a transformation in everyday life, whilst Transfiguratio, the central panel, portrays the brilliant colors of transcendental bliss. Jean-Paul Estiévenart is a Belgian jazz trumpeter whose career to date is surprisingly dense and diverse. His playing is nourished as much by his passion for the traditions and history of the genre as it is by modern experiments and free improvisation. His meeting with the eminent oboist Marcel Ponseele created no clash of contexts, as they both experience and talk about music in the same way. They have chosen to perform a selection of works - principally by Bach - in which each reacts to the other, altering the music slightly where necessary to allow space for improvisation.