Opening Apparitions, "Ellipses (for 3 violas)" gives the listener a swarming, near "Flight of the Bumblebee" levels of stringed fury. This fervent play was written to accompany a dance trio and developed with choreographer Stefania Skoryna. Each viola would be represented by a dancer, popping in and out of the chaotic strings, flashing into life before quickly being consumed by the rolling notes. At almost 18 minutes, "Ellipses" gives the listener many chances to catch these fleeting ghosts and understand their role in the overall composition. "Cendres (for 4 vibraphones and marimba)" takes the calmer moments that bookend "Ellipses" and expands upon them. Alary states that this track represents "the idea of a memorial "spectral trace" in a sonic way"; Those memories when only the biggest, most striking parts are what we remember. Allowing these percussion instruments to drone and reverberate, the structure formed gives the listener an interesting look at how sounds can change and instrumentation is not always as perceived, much like these "spectral traces" in our memory. "Spectres (for 3 bassoons)" furthers this droning, ghostly imagery, mimicking a long lost tape recording. Squeaking and slowly moving forward, these haunting wind instruments lay a sparse but effective groundwork for one's imagination to take hold. The bassoons become voices and the light effects help to show this saturation and tape degradation.

 

Olivier Alary's three pieces on Apparitions (Vol. 1) present a few approaches to highlight the transience of memory and how even some forms of recording do not represent the absolute truth. What is in our heads can change, and media can transform over time, so our memories become that of a spectre that only hope can prove real or truthful. Well chosen and excellently arranged, the acoustic instruments on this first volume aid well in getting Alary's point across as well as evoking many memories from the listener that may or may not be accurate.