With a program full of contrasts, 5ilience performed Devinim on Wednesday at Quai 5160 in Verdun. The woodwind quintet captivated the Verdun audience, taking them on a rhythmic, harmonious journey where movement reigned supreme.
“Astro Errante,” by Mexican composer Abraham Gomez, immediately transports us into the world of the quintet. Beginning with a restrained opening, the piece unfolds as the musicians’ notes soar. This is followed by a much more rhythmic second section, characterized by a recurring rhythmic motif that creates a dialogue among the musicians.
On a completely different note, Gravité, by composer Florence Tremblay, begins with a mass of sound that evolves through the musicians. As the musicians enter and exit in succession, this sound mass evolves in depth and dissonance. A natural crescendo builds, amplified by the bellows, giving the audience the impression of a continuous wave.
In contrast to the previous piece, Letters to a Friend by composer Theresa Wong is based on a rhythmic pattern that repeats throughout the performance. The inspiration for this sequence? The translation into Morse code of a poem that a friend sent her before her death. Through a combination of percussion, instrumental playing, and contemporary techniques such as slap-tonguing, the composer reimagines Morse code for the listener throughout the piece.
The concert continues with two pieces that could not be more different from one another. Summa, by Estonian composer Arvo Pärt, embodies simplicity and fills every corner of Quai 5160. “Devinim,” by composer Ufuk Biçak, is the most lively piece of the concert, with a highly rhythmic opening and a melodic motif that weaves between the musicians.
The concert’s sole new work, Pauline, composed by the ensemble’s saxophonist Thomas Gauthier-Lang, begins with a series of sustained tones interwoven with multiphonics and brief, more rhythmic interjections from the oboe. As the piece unfolds, a rhythmic dimension emerges. An acceleration of the tempo leads to a series of melodic flights by the instrumentalists, over a rhythmic ostinato that remains present throughout this second section.
All in all, a powerful and striking performance for the audience at Quai 5160.
