INTERVIEWS










INTERVIEW AT MUSICA VIVA BY EVA SANDOVAL (SPANISH)



















INTERVIEW AT ACCENTS WEBMAG BY JÉREMIE SZPIRGLAS (FRENCH)

























INTERVIEW AT EL CORREO DE ANDALUCÍA BY ISMAEL G. CABRAL (SPANISH)









INTERVIEW AT ESPACIO SONORO BY CAMILO IRIZO (SPANISH)


REVIEWS


Premiere of ‘Radio Bass’ at the Biennale di Venezia  by Charlote Testu

On Sunday afternoon, Charlotte Testu played four pieces in Sala delle Colonne, a hall in the headquarters of the Biennale near San Marco Square. The works all relied heavily on electronics, but the most effective was Radio Bass by the Brazilian composer Aurélio Edler-Copes commissioned by the Biennale. In 8 short movements Edler-Copes leads us through an amazing sound world in which an extremely low computerized voice competes with babblings, shouts, and whisperings by Testu. Meanwhile, she extracts a plethora of stampeding, sizzling, melodious, and grunge-like sounds from her instrument. After some 20 minutes of havoc, the computer voice concludes with a ‘thank you for your interest in this radio bass.’

I Care If  You Listen (10th October 2018)



"Composer Aurélio Edler-Copes made his presence felt with a new work that held its own alongside Debussy and Bartók"

(...) "The novelty came from Aurélio Edler-Copes, a new name to me, who was born in Brazil in 1976 but studied at IRCAM and is now based in France. His 15-minute piece for two pianos and percussion, Presence, borrows some of its musical processes from sound recording and the way in which tape is manipulated. The two movements, Nowhere and Everywhere – the first explosive and discursive, the second much more static – are full of tightly packed musical mirrors and symmetries, which may accumulate into frantic textures, or unravel into lingering, decaying echoes. It’s attractive, vividly heard music that’s never dull for a moment. It certainly held its own alongside Bartók’s Sonata for Two Pianos and Percussion, which the Ensemble Intercontemporain players tore into with tremendous confidence and elan."

The Guardian (23rd February 2016)




Ensemble Intercontemporain – Premiere of ‘Presence’ at the Wigmore Hall, London

(...) "The new work was Edler-Copes’ Presence for two pianos and two percussions. Written last year to a commission from Ensemble Intercontemporain and the Wigmore Hall, it takes some of its inspiration from sound recording and playback techniques, including pause, repeat, loop, fast forward and rewind. It lasted around 15 minutes and proved a surprisingly attractive work. The two movements, entitled ‘Nowhere’ and ‘Everywhere’, presented, developed and discarded musical fragments which were both shared and battled over by two pianos and a battery of percussion, including xylophone, snared drum and washboard."

MusicOMH (24th February 2016)




Ensemble Intercontemporain – ‘Como el Aire’ at he the Philharmonie de Paris

"Como el aire d’Aurélio Edler-Copes (ancien élève de Georges Aperghis), une fascinante étude sur le transitoire (le relais timbrique entre l’archet frottant la note du vibraphone, le piccolo et l’accordéon). Une musique qui vit, respire, en même temps qu’un condensé d’énergie subtilement dosé par les musiciens de l’Ensemble intercontemporain."

ConcertoNet.com (12nd December 2015)




"Como el aire (2007) convoque un ensemble atypique (harpe, accordéon, flûte, clarinette, alto, violoncelle) disposé symétriquement autour de la percussion. Très séduisante, la pièce aux allures spectrales déploie un éventail spectaculaire de couleurs dont on perçoit toutes les métamorphoses, jusqu’à la raréfaction extrême de la matière sonore."

ResMusica (9th December 2015)




"Compositeur associé à la compagnie Éclats (Bordeaux), il vit actuellement à Paris. Como el aire date de 2007 et fut créé en Rhénanie par Titus Engel à la tête de l’ensemble musikFabrik, les mois suivants. Il convoque flûte et piccolo, clarinette en si bémol et clarinette basse, accordéon, alto, violoncelle, harpe et percussion. D’emblée, le grand geste liminaire impose un monde foisonnant autour duquel virevolte ensuite un dédale égayé fort délicat où s’invite une inflexion rituelle. Une courte section nue survient au centre, où un violoncelle fauve relance la cérémonie. La fin puise dans des inanitions romitelliennes."


Anaclase (4th December 2015)

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