Werner Durand – Schwingende Lufsäulen 2 CD (AG19)
Werner Durand “Schwingende Luftsäulen 2” (CD), the second
chapter dedicated to Durand’s music applied to the Pan-Ney,
the wind instrument of his own invention.
With gorgeous artworks by Karlheinz Bux
(http://www.karlheinzbux.de) and extensive liner notes by
From the liner notes:
“Schwingende Luftsäulen 2 is the second chapter of a trilogy
featuring the Pan-Ney with its tubes or columns of vibrating
air (Schwingende Luftsäulen, in fact).
This second chapter, in which the Pan-Ney is flanked by the
tenor sax, reconnects where the first one ends (ANTS, 2017),
and proceeds along a path that is coherent and uniform, and
whose imaginative ideas go beyond the strictly musical
Wald (forest) is the centerpiece of the three works that make
up Schwingende Luftsäulen 2.
It is the forest with its multiple meanings, real and symbolic,
mythological, religious, literary, folkloric. The forest as a
place that is sacred or magical, dreamlike or fairy-tale.
A place of adventure and misadventure, to trek through with
a view toward growth or rebirth.
In Spiegel (Mirror), dedicated to the Tonaliens Ensemble, the
Pan-Ney and the tenor saxophone weave a layered dialogue in
which they call and respond to each other. Not only. In their
‘mirroring conversation’ the two instruments seem to suggest
a choreography. Durand’s music stands out for its ability to
make some ‘scenes’ visible. In the dance evoked in Spiegel,
the gestures – and perhaps even the bodies – appear
suspended and rarefied, just as the music is suspended and
rarefied, while, during listening, time expands beyond the
duration of the piece. Music and dance remain there, in
midair, even at the end of the ritual.
Panga, for Pan-Ney, tenor sax and digital delay, contains an
allusion to nature. Panga (note the morpheme “pan”, which
refers to Durand’s instrument) is the name of a plant that
grows in New Zealand but that occurs in the botany of other
areas of the planet (for example, in the Amazon) in
connection with ancient practices both pharmacological and
aphrodisiac. But the plant could easily belong to a manual of
imaginary botany, if one thinks that nature, for Durand, is
both a source of real inspiration and a place to reinvent
according to subjective visions and coordinates.”