Accords perdus · soundfestival

Concert

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Informations pratiques

Jeudi 28 janvier
horaire à venir

Aberdeen Arts Centre, Aberdeen (Écosse)
33 King St, Aberdeen AB24 5AA

Tarif
de £6 et £12

Renseignements et réservations
soundfestival, +44 (0)1330 826526, info@sound-scotland.co.uk

ACCORDS PERDUS

GÉRARD GRISEY
Accords perdus   (1987)
pour deux cors

TANSY DAVIES
Trio   création mondiale
pour violon, cor et piano

GYÖRGY LIGETI
Trio   (1982)
pour violon, cor et piano

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Solistes de l’ensemble Court-circuit
Alexandra Greffin-Klein, violon
Antoine Dreyfuss, Hugues Viallon, cors

Jean-Marie Cottet, piano

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Dans le cadre de soundfestival
→ Site de soundfestival

Description à venir

 


Jeux

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CRR de Paris

 

Daniel D’Adamo, Coeli et Terraefor saxophone and double bass
Nicolas Tzortzis
, … à une main. Hommage à Roger Federer for ensemble (world premiere)
Martino Traversa, Rimane l’eco for ensemble
Georg Friedrich Haas
, Ausweg for ensemble

 

Musicians of Court-circuit
Saxophone : Vincent David          
Violin : Alexandra Greffin-Klein                     
Double bass : Didier Meu           
Conductor : Pierre-André Valade

The surprising instrumental alloy of the double bass and bass saxophone is what Daniel D’Adamo’s Coeli and Terrae relies on. These two instruments become, one after the other, main character and shadow. Their interweaving by rhythms and play modes leads to perceive a “meta-instrument”. In return, homorythmic pursuit and cut leads to moments where tones lose temporarily their identity. The idea of interweaving also affects the form. We will take side roads, backtrack, lose the steps that had guided us to find them again.

“À une main” (one-handedly) by Nicolas Tzortzis is conceived as a short film inspired by a grand slam Roger Federer won. The solo violin confronts consecutively seven opponents, from solo to quintet. It is accompanied and amplified by an instrument from the ensemble, as if electronic process affected its tone. The fourth layer represents what occurs “around”. Played by the instruments that do not take part to the game, rather noisist or neutral, the latter serves a background to the main action

Rimane l’eco By Martino Traversa explores a particular aspect of complexity with an increasing sonorous density, allowed with a process of successive accumulation, and its quick dispersal. The writing is sustained by a precise structural order, gradually complexifying until reaching a certain point of accumulation from which the perceptive image of echo takes form.  

The second word of Georg Friedrich Haas work title, weg (path, gone), leaves space to interpretation, and the ambiguity is intention, either “exit door”, “stop, leave” or yet something else. The piece is also a game for ambiguity : it begins with enigmatic piano trills the strings comment, then, by the other instruments according to a fluctuating and hesitating path, with microtonal and the composers typical slippery stretches. The development is uncertain, with sudden curls, and unachieved wanders.

 

 

Information

Conservatoire à Rayonnement Régional, 14 rue de Madrid, 75008 Paris
Prices : free entrance
Information and reservations : Ensemble Court-circuit, production@court-circuit.fr, 06 89 16 64 00


PRODUCTION

soundfestival · Ensemble Court-circuit

Avec le soutien de Diaphonique, de la Fondation Francis et Mica Salabert et de la Fondation Ernst Von Siemens

 


 

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