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CRR de Paris - Auditorium Marcel Landowski - march 10 - 2010, 20 heures
*Commissioned by the French Ministry of Culture Alexis Descharmes, cello post-concert cocktail |
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The second segment of the "Pulse" cycle includes four pieces that give pride of place to the instrumental and musical gesture and to rhythm, pulsation and body movement.
Although Bruno Mantovani emphasises the process of transformation more than usual in Da Roma, his musical discourse is based on recognisable gestures such as an extremely slow ostinato that sounds like a tolling bell, arpeggios and descending waves, and rapid, rhythmical ostinatos. These elements are transformed during the piece in such a way that the listener does not lose track of them, despite the overwhelming energy of the developing music.
Laurent Cuniot's To deep and deeper blue is a through-composed drama in sound that delves into three very different landscapes which gradually break apart in a burst of pulsed writing and highly virtuosic rhythms. The work's fourth and final part is a complete reversal of the first moments of the opening movement. As a composer and conductor, Cuniot has always emphasised precise instrumental gesture, sound quality, rhythmical rigour and virtuosity. It is therefore unsurprising that To deep and deeper blue, in spite of its difficulty, searches for balance between writing and instrumental gestur.
In Philippe Hurel's D'un trait, written for Alexis Descharmes, the musical discourse is organised around energetic instrumental gestures, particularly those of the cello, that reflect Descharmes's impetuous character. The gestures flow into and bounce off each other, changing in unpredictable ways. The piece exudes a sort of animal energy, an urgency and tension that also occur in other pieces written by Hurel during the same period.
Pierre Jodlovski based Respire on the movements of filmed dancers, which are seen as videos on stage. He states, "Although at the beginning the breathing seems "normal" and rather quiet, little by little it takes on ever more complex rhythmical formulas and becomes separate from the dancers' movements. To facilitate this, I wrote a score for the dancers that represented their breathing in and breathing out. It asked them to concentrate on the respective length of these actions and developed a type of musical writing based on the breathing model which attempted to see how this energy coming from the body, or rather from the abdomen, could be transcribed... The first movement is based on a very slow tempo that resembles breathing in a calm situation. The second movement, which calls to mind a dance floor, is much quicker..."
Information :
Auditorium Marcel Landowski, CRR de Paris, 14 rue de Madrid, 75008 Paris
Free admission
Reservations: Ensemble Court-circuit - 01 43 26 88 19 and production@court-circuit.fr
Production Ensemble Court-circuit. With the support of CRR of Paris and Integra.
This concert is given as part of our collaboration with Integra, a European project funded by the cultural programme '2000' (coordinated by the Education and Culture Department of the European Commission). Its goal is to create a European environment that stimulates composition and public performance of music with electronics.
