REVIEWS


Premiere of ‘Mental Radio Machine I’ at the Philharmonie du Luxembourg by the ensemble United Instruments of Lucilin and IRCAM staf

«A shiny, flamboyant, syncretic work that focuses as much on the writing itself as on the prior arrangement in the laboratory to achieve an amazing mix, especially explosive!»

Luxemburger Wort (12 Mai 2019)




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

«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.»

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. 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. 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 – ‘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.»

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)



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