Review by Tim Rutherford-Johnson
Works for cello have often appeared at important junctures in Barrett’s output. Ne songe plus à fuir was one of his earliest experiments in composing with the essential structural features of the instrument (and the player’s interactions with it), as a way of representing the instrument’s essential character without the accumulated baggage of its performance practice and historical repertory. In this case, this meant reconsidering the cello as a “resonant box with four strings,” to borrow the title of that first conversation between Barrett and Deforce. Further to this, the cellist is thought of in terms of two hands, one holding a bow and both able to move in three dimensions. A large part of the compositional work after this is occupied with exploring the possibilities opened up by this “radically idiomatic” reinvention of the instrument.