WELCOME

Contemporary music! Some times ago, after a long period of obscuracy, some composers decided to rebound with the old concept of pleasure described by Debussy : « La musique doit humblement chercher à faire plaisir (...). L’extrême complication est le contraire de l’art. Il faut que la beauté soit sensible, qu’elle nous procure une jouissance immédiate, qu’elle s’impose ou s’insinue en nous sans que nous ayons aucun effort à faire pour la saisir. »

In memoriam Henrique 'de Curitiba' Morozowicz.

This was not easy : since Second World War, composers were attracted by intellectual compositionnal processes. Dodecaphonism and serial music expressed a rage to build systems based on logic. The audience didn't follow and contemporary music concerts became ghettos for a nomenklatura of commissionned composers. Classical music is a language, and any langage grows with evolution while it is killed with revolution.

For the new consonant composers, the problem of the kind of language is not a problem. Their music can be tonal, atonal, microtonal... who cares? The point is that their music is understood by both performers and audience. So, New Consonant Music is nothing else than the resurgence of an old and simple idea : if you have something to say, just say it!

Who are these composers? The pionneers are Henryk Mikolaj Gorecki, Steve Reich, Michael Nyman, John Adams or Phil Glass. But we have the will to make you discovering many others like Frédéric Devreese, Dominique Dupraz, Piotr Lachert, Michel Lysight, Gilberto Mendes or Georgs Pelecis among many others.

Oh, yes, just a precision : the term « new consonant music » doesn't mean that it's built with consonant chords or intervals. What is a consonant chord in 2007? Old terminology. The term 'consonant' is relative to the music itselve, not to its atomic elements. So, let's forget the ingredients and just taste the new consonant music...

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