Subsequently, Courvoisier’s approach to compositional form goes beyond designing a set of relationships in between materials, but a set of relationships in between musicians, as well. matching musicians and materials is a time-honored convention, but rarely Has A composer composed for seeking diverse artists as Courvoisier for this project. Her motivation was simple: They are all long time friends and colleagues. Still, the spectrum of colors created by Ikue Mori performances in synthesis, Mark Feldman, Vincent Courtois and Gerald Cleaver is stunningly wide. Mori, Courvoisier’s cohort in Mephista, a co-op trio rounded out by Susie Ibarra, can approximate gurgling water one moment and the hydraulics of a futuristic deus ex machina the next. Whether he is nailing treacherous passages Whose fingerings Practically careen off the fingerboard or sawing chords with abandon Courtois Constantly testing the extreme of his instrument. The complete percussionist, Cleaver can slip into at interlude with supple textures or whip up frenzy with powerhouse drumming. And, Feldman simply does it all Courvoisier the pianist is just as central to the album as Courvoisier the composer. Her playing is as Varied as did of her cohorts, spanning quiet reverence and by-the-throat intensity. Whereas some pianists can only make Their presence felt When unleashing torrents, Courvoisier makes at impact even in her most minimal moments. Her technique is immaculate, but it is never to end in Itself; it invariably serves the emotional truth of the moment, Which in turn serves the overall design of the composition. This is an aspect of her art she has cured care as fully as her Compositions. Lonelyville With Sylvie Courvoisier reached the horizon she first glimpsed in 2004, and Which Came into full view in 2005. Undoubtedly, she is already eyeing another horizon, and curing a new body of work to reach it.