© 2014 by Orkestrom

CLAUDE EVENCE JANSSENS

polyMorphosis

                                            in depth...

(English translation to come)

Morphosis :

  • the theme of Caravan is here re-interpreted over modal harmonies unrelated to the original chord chart of the piece, which makes this theme appear in a new light.

  • Claude Evence's personal themes are mixed (alternately) with the theme of Caravan.

  • these personal themes use the lyrics of Caravan (by Irving Mills), which are therefore diverted from their original context while adapting themselves to the new theme in a very natural way.

Quote : "Caravan" by Duke Ellington & Irving Mills
Duke's
caravan

Morphosis :

  • the theme of Swing low is re-interpreted on modal harmonies unrelated to the original chord chart of the song, which makes this theme appear in a new light.

  • a sequence of woodwinds and brass in unison, rhythmic issue of the theme of Swing low re-interpreted, appears as a commentary of the lyrics in two places of the piece.

Quote : "Swing low, sweet chariot"  (anonymous)
Angels
to carry me home

Morphosis :

  • the theme of Summertime is re-interpreted on modal harmonies unrelated to the original chord chart of the piece, which makes this theme appear in a new light. (At the end of the song, Summertime is played against the standard harmonic chart).

  • it is followed by a B part resting on a personal theme added by Claude Evence, with also personal lyrics that are a critique of "West Side Story" on the racist connotation that some have considered and reproached to the musical.

  • the first solo gives rise, to the alto clarinet, to a variation on the Partita in A minor for solo flute by Johann Sebastian Bach, on modal harmonies unrelated to the original harmonic context of the piece.

  • the second solo reintroduces the variation on the Bach's partita, juxtaposed this time with the re-interpreted theme of Summertime.

Quotes : "Summertime" by George Gerschwin & DuBose Edwards / "Allemande from Partita in A minor for solo flute" by Johann Sebastian Bach
Emotive partita in the summer heat

Morphosis :

  • the theme of Lonnie's Lament is re-interpreted on modal harmonies unrelated to the original chord chart of the piece, which makes this theme appear in a new light. (At the end of the piece, Lonnie's lament is played against the standard harmonic chart).

Quote : "Lonnie's lament" by John Coltrane
Faces of
a lament

Morphosis :

  • special re-interpretation, at the end of the composition, of the standard of A night in Tunisa (nevertheless played on the original harmonic grid).

  • for the personal themes that add to the theme of A night in Tunisia, Claude Evence has used the words of Jon Hendricks, thus diverted from their original context but which adapt naturally to the new theme (The theme of A night in Tunisia being dressed with lyrics of origin obviously).

Quote : "A night in Tunisia" by Dizzy Gillespie & Frank Paparelli
Oriental summer night

Morphosis :

  • for the personal themes that add to the theme of In a sentimental mood, Claude Evence used the words of Irving Mills, thus diverted from their original context but which adapt naturally to the new theme (The theme of In a sentimental mood as for him dressed of the words of origin obviously).

  • the theme of In a sentimental mood is juxtaposed with the theme of the Sonata in B minor for flute and continuo by Johann Sebastian Bach, giving each other a new light, all that on the modal harmonies of the main composition (first and second halves), unrelated to the chord chart of In a sentimental mood. (At the end of the song, In a sentimental mood is played against the standard harmonic chart).

Quotes : "In a sentimental mood" by Duke Ellington & Irving Mills / "Andante from Sonata in B minor for flute and continuo" by J. S. Bach
Sentimental sonata in a cool mood

Morphosis :

  • evocation of Monteverdi via a canon composed by Claude Evence for two trumpets, which frames the theme of Tenderly.

  • Tenderly is here  sung on modal harmonies and not on the original chord chart, a context that makes this theme appear in a new light. (At the end of the song, Tenderly is played against the standard harmonic chart).

Quote : "Tenderly" by Walter Gross & Jack Lawrence
Tender love in the Middle Ages

Morphosis :

  • apart from the juxtaposition of the theme of Nobody knows with the theme of Spiritual of Coltrane, no theme is properly metamorphosed, because of a modal harmonic context similar to that of "India" and "Spiritual" in their original versions.

Quotes : "India" and "Spiritual" by John Coltrane / "Nobody knows" (anon)
Spiritual Trane

Morphosis :

  • the theme of My funny Valentine has been melodically and harmonically transformed, in a spirit very different from the original standard, creating a distortion with the text whose music denounces sexist hints. (At the end of the song, My funny Valentine is on the other hand played on the standard harmonic chart).

  • for the personal theme that is added to the theme of My funny Valentine, Claude Evence used the words of Lorenz Hart, thus diverted from their original context but which adapt naturally to the new theme (The theme of My funny Valentine being as for it dressed with the words of origin, obviously).

Quote : "My funny Vantentine" by Richard Rodgers & Lorenz Hart
A funny girl in not a funny world

Morphosis :

  • the Nardis theme is played on modal harmonies unrelated to the original harmonic chart, a context that gives this theme a new character. (At the end of the track, Nardis is played against the standard harmonic chart).

  • it appears at a certain moment in counterpoint to the Bourrée of Bach to which it is juxtaposed, a theme eluciating the other of a different day.

  • the theme of the Bourrée is also dressed in modal harmonies, and juxtaposed in various places to the personal theme initially exposed by Claude Evence in the piece.

Quotes : "Nardis" by Miles Davis / "Bourrée from Suite in E minor for lute" & "Kyrie from Mass in B minor" by Johann Sebastian Bach
Nardis between death and life