Awen

Tristan Le Govic has taken his harp to Glasgow, to broaden his horizons and ours. One or two of the Breton melodies may be familiar: Kas A-Barh and Enez Eusa smack of Alan Stivell, and are beautifully handled here. Dan O'Keefe's Slide and Denis Murphy's Slide started at the right end of Ireland to join the Breton repertoire, but I was surprised to hear Mike McGoldrick's Whalley Range slip jig transferred to the harp. Fine as all these tunes are, the highlights of Awen for me are two of Tristan's own making: Le Songe D'Orianne and Piz Bihan.

The trilingual sleeve notes describe Le Songe D'Orianne as "The lament of a queen, half woman, half fish", and you can see the problem right there: how would she get comfortable on the throne? It's a simple melody, mournful and haunting, with gentle bass notes and subtle ornamentation, and for me it's absolutely stunning. By contrast, Piz Bihan pulls out all the stops for a modern pan-Celtic virtuoso performance: funky rhythms, damped chords, modal harmonies, set off by a central slow passage. Nicely presented, fresh and original, and powerful enough to need no accompaniment, Awen is all that harp music should be.

Awen is the second album from Brittany's Tristan Le Govic, an album of harp music with a beguiling enigma, and charming subtlety. The harp is an instrument that is fast becoming my favourite; I'm drawn to its winsome combination of sensitivity and nimble complexity, which are both facets that Le Govic demonstrates deftly. Borrowing from across the various Celtic traditions, the thread that binds Awen is telling throughout though never cliché, offering tunes from Ireland and Scotland as well as Le Govic's native Brittany, alongside a selection of original material.

A relentless repetition of low notes, plucked with a determined vigour create a menacing undercurrent to the opening track, Dañs Plin, with a persistent rhythm that maintains a degree of intimidation right through to the close of the track. There is an almost palpable degree of anticipation prior to each note on Le Govic's own composition, Le Songe d'Orianne, played with a poise that allows you to relish the build and fade of each individual note that lend themselves to this beautifully flowing and lyrical air.

Le Govic explores the diversity within the Celtic traditions with a couple of Irish slides providing a spirited frivolity, to be followed by the more stark determination of the traditional Scottish reel, On The High Road To Linton. There is also a Scandinavian detour on Ar Vag, Le Govic's own variation on a traditional Swedish tune, with its demanding melody and less intuitive time signature.

Ultimately it is Le Govic's own compositions that leave a lasting impression, and in particular the intensity with which Le Govic is able to express a sense of place and emotion. "The first golden ray of light coming through a sleepy forest after an autumnal rain" is the brief description that accompanies Glaz. These words alone conjure up powerful imagery, an imagery that is truly heightened by the evocative eloquence of the melody that they inspired.

There is much to enjoy about Awen, and Le Govic's world is certainly a pleasant and rewarding place in which to spend some time.

If there was one word to describe Awen, Tristan Le Govic’s latest offering, it would be Gentle. In his hands, the Celtic harp laments, dreams and dances its way through this collection of original and traditional music. Included here are slow airs, slides, slip jigs and other tunes from Le Govic’s native Brittany, as well as Ireland, Scotland and even Sweden.

While the jazz-laced tunes Dans Plin and Piz Bihan show off Tristan’s great technical skill, it’s the gentle, slower pieces that really shine. Here, the true voice and soul of his harp can be heard.

Le Songe d’Orianne is the sumptuous lament of a mermaid queen, with layers as deep as the ocean she dwells in. On another original tune, Glaz, the listener is infused with the soft golden sunlight of the rain-drenched forest that inspired this piece. The album closes with the traditional Enez Eusa, a beautiful tune full of profound longing.

The solo instrument nature of Awen allows the listener to enjoy the breadth of sound the Celtic harp can produce, as well as the intricate nuances. Tristan Le Govic has created a gorgeous tapestry. This album is a “must-have” for Celtic harp fans, as well as those seeking an introduction to the “son Telenn,” the sound of the Breton harp.

Une carrière plutôt discrète auprès d'un large public, mais déjà une reconnaissance marquée par plusieurs prix et une présence dans les grands festivals de harpe celtique : Tristan Le Govic a confié l'enregistrement de son 2e album à Pascal Lamour. Résultat remarquable par la pureté, la netteté, la délicatesse du son. Il faut dire aussi que le jeu de Le Govic (traditionnels, arrangements, compositions) est aussi subtil qu'original dans sa recherche du "son Telenn" : développement des lignes mélodiques sur une basse pleine. Awen marque la révélation d'un grand de la harpe celtique.

Tristan Le Govic est sans nul doute le premier Breton à s'être fait une place dans le petit monde des harpistes d'Écosse, et du coup, à faire carrière dans le pays. Voilà en effet trois ans qu'il s'est fixé à Glasgow, et qu'il y enseigne la harpe celtique dans les écoles de la ville. Il s'est néanmoins rappelé à nous cet été par une tournée qui lui a fait parcourir la Bretagne, et qui fut, du coup, le prétexte à la présentation de son deuxième CD, Awen. On l'a maintes fois constaté : il n'est pas donné au premier instrumentiste venu de captiver un auditoire en jouant en soliste. Car c'est une nouvelle fois le pari, gagné, de Tristan. Ce qui en l'occurrence, ne met que davantage en lumière l'excellence de son jeu et a fortiori la maturité du compositeur, puisant son inspiration tant en Bretagne qu'en Ecosse, en Irlande, voire en Suède, relayant les traditionnels de nouveautés conjuguant influences classiques et jazzistiques, créant le "son telenn" qu'il revendique. Last but not least, le tout est servi par une superbe prise de son signée de Pascal Lamour. Reconnaissons que rarement la harpe celtique a été aussi bien servie, à tous égards.