When I close my eyes, I can see the stone tower. The first of Cécile Marti’s “Seven Towers”. It is not very tall, but the double bass suggest it has a massive rectangular shape. Reassuring for those who find shelter in it, but a provocation for anyone else. A strident violin evokes an imminent danger, and sure enough invaders try their luck. Timpani thunder through the Berne casino, and yes, I see waves of soldiers clashing against the tower. But the building resists, it stands majestically, calm in the middle of the turmoil. Nevertheless the next wave of attackers rolls on: crescendo! It get’s really loud, and then: change of tempi, change of style!
Tonight and tomorrow night, I will have the privilege to assist to performances of “Seven Towers” – a new piece written by the Swiss composer Cécile Marti. Part 1 will be played on two evenings at the casino in Berne by the Berner Symphonieorchester. Part 6 has premiered in Geneva on September 17 performed by the Geneva Camerata. “Seven Towers” is an 80 minutes long concert cycle and the result of Cécile Marti’s composing research project at the Guildhall School of Music and Drama in London. It started in September 2012 and is about to come to its end. I interviewed Cécile Marti about her work, about contemporary classical music and how to make it accessible to a broader public. Continue reading!