Mise en page 1 - Ensemble Alternance

ENSEMBLE ALTERNANCE
2013/2014
ENSEMBLE ALTERNANCE : Frédéric Baldassare : violoncello, Jean-Marie Cottet : piano, Dirk Descheemaeker :
c l a r i n e t , J a c q u e s G h e s t e m : v i o l i n , J e a n - L u c M e n e t : a r t i s t i c m a n a g e r & f l u t e, C l a i r e M e r l e t : v i o l a
Mark Andre, Caterina di Cecca, Raphaël Cendo, Santiago Diez-Fischer, Frédéric Durieux, Gabriel Erkoreka, Alireza Farhang, Federico
Gardella, Philipp Maintz,Philippe Manoury, Yan Maresz, Riccardo Nillni, Emmanuele Palumbo, Mauro Salieri, Hans Thomalla,Nicolas Tzortzis
2013/2014
Go ahead !
By the generosity of its example and the strong flavor of its impulse, the past propels us forward.
Victory of the imagination on the memory, boldness and vision: here are the archetypes of the sublime hooligans, these transgressors whose voice has maybe never as
much as today difficulty to being listened in front of arrogant and deafening decibels spread in a continuous stream by any forms of walls of loudspeakers raised on the
boards of ignorance, feebleness and hard of hearing.
By the strength of their thought and their creation, these architects of the « tradition of the future », fleeing very quickly in big steps as much the siren song of the restoration as the claim in an exclusive superiority, standing up arms widely opened on the world, walking with care, maybe marginally but certainly for some of them participate to the movement towards a new critical consciousness.
From a torrent of ideas such as a precipitate, a kaleidoscope stopped shaking to end in an order, emerges a shape, a work, a new law or not, but nerverthless, it appears
certainly an event the author of which most of time will cover himself with the glory to be honoured by the children of those who have ignored his work…it doesn't matter: here and now, we as interpreters have to assume the responsability to try to reveal the shape and the sense of these works with the required ardour to tear away
with our listeners, our partners from the academical fear to escape from the original sphere and make a detour with no care.
« To see the future does not interest, to see itself either, or to see things from an imagined future. What interests is to see the future in today: the current future » (by
Roberto Juarroz, in « Vertical Fragments »).
« Go ahead! », as proclaims the soon 90-years-old Klaus Huber to those who ask him for his vision of the « future of today »: an exclamation which might be considered as a paragon for a contemporary musical creation of which the least we can say is that the languor is not the mark despite of a more and more restricted space designed by the attitude of too many decidors to deny in the art its creative dimension in the almost exclusive benefit of the triumphant technology and too many unclearminded people trying to give to art a function of entertainment or to take care of unbearable social disorders.
Our 2013-14 season is swarming with creations of Riccardo Nillni, Santiago Diez-Fischer, Frédéric Durieux, Alireza Farhang, Nicolas Tzortzis, Mauro Salieri, Emmanuele
Palumbo, Federico Gardella and enamelled by recent works of Raphaël Cendo, Gabriel Erkoreka, Hans Thomalla, Philipp Maintz whose a Cd portrait will issue in 2014.
Here is the programme: go ahead with us !.
Jean-Luc Menet
Some composers of our season 2013/2014...
Riccardo Nillni
swarming
liveliness
fluidity
transparency
Studies of composition at the Arts & Musical Science Faculty and at the
Electro-acoustic Music Center -Buenos Aires (LIPM)
Studioes of électroacoustic technics -Tel-Aviv University
CNSM-Paris with G. Grisey,and P. Mefano
Seminars with B. Ferneyhough, H. Lachenmann, K.Huber, F.Donatoni
lRCAM Informatic music
1999 Price of composition -Wiesbaden City for « Habillage du vide »
2000-2002 in residence in the Orchestre de Picardie
2003 « Plongements » for orchestra- Donaueschingen festival
since1996 develops under the name of ARAOZ.a multimedia project
in a partnership with Laura Nillni
1995 « Morphologies presqu'effaçables » Radio France Orchestra
1999 « Twist suite » commissioned by Radio France
2003 « Plongements » Donaueschingen festival
2005 « Parcours fléchés » commissioned by Radio France
2008 « Double concerto » for violoncello and harp
2011 « La luna, la nube y el ojo » York festival
Debussy said that " the music has to appear from shadows ". From where
comes your initial idea and how does it develop ?
Most of time I begin from an atmosphere, as the fleeting feeling of a dream which we cannot tell and rarely from something settled in advance. It is at the same time a visual and sounding feeling at
first extremely difficult to formalize; nevertheless I am guided until obsession by the notion of transparency, simultaneity.and deepth of plans.
Moreover the transparency reveals the simultaneity..
It is also a matter of attitude to see which material I accept or not. Besides, as well in a piece for orchestra as a solo, my music is developping by successive layers. I follow as a kind of dream of alchemy,
asking me how to assimilate the parasites, the scorias of the sound, to manage the incident which has a necessity. From this amorphousness, formless flow, appears a geometry, a kind of operating closed area, from spots which fix the space.
Because a border is required so that any body exists and exchanges. It is a principle of organization. I claim the principle of geometrization of this whirling flow which gives an outline of which the time
print provoques a narration. In the work « Cinq degrés de crayonnage, in memoriam Sol Lewitt », -and the title is a kind of oxymoron-, the notion of degree indicates the rationalization, the measure.
This pencilling refers to the savage, the irrational. I try to combine these two universes as if they had the same nature. From a strictly point of view of the sound, it gives an idea of the relationship between the notion of sound and noice in my music. Moreover I am much less interested in the emergence than in the transition of the sound.
Would your interest for the image come by chance from this principle of geometrization ?
I am very interested in the approach of Dan Flavin, Sol Lewitt, François Morellet, Ellsworth Kelly, Doug Wheeler … ;I am touched by the purity of the forms of their works, by their false pure appearance. In detail, there is chaos, a false symmetry, a disorganization. My music has not a function to represent these works. It is just their geometrical aspect which I incorporate, a vibratory geometry.
Unstable edges give this vibration as that of a cell moving in the space. It is the vibration which gives this unstable shape but it moves in a fixed structure: it is a simple metaphor of the organic cell
I would want my music to be perceived by the audience as an alive and an itself building-up body, as something which has its own life because I start from the alive. My music is swarming and I work
to make heterogeneous elements appearing which can gather in supra-objects, unexpected emergences.
All is more than the addition of parts, or a system which provoques the emergence of new qualities which did not exist in the separated parts.
Writing makes sense to me only if it is efficient : I am not interested in writing something which would not sound!. I feel close to John Cage saying :" I write to hear something I still have no heard".
But I will add, « while planning that it sounds like I imagine it has to sound ». Moreover I am very critical to my own work. I like to take the risk to be wrong and I count on the sincerity and a deep
involvement of interpreters to refine my writing
What is the frame of your project of new work which the Ensemble Alternance will premiere during this new season ?
« Cinq degrés de crayonnage » in memoriam Sol Lewitt, a work composed in 2012 and maybe still more my sextet « La luna, la nube y el ojo » is a kind of remix of two duets (the one for flute, cello,
the other one for clarinet, violin) which have forged a new starting point which brought to me towards an unknown space. The shape of this new work will be a tryptic not composed of movements,
but of three angles (to stay in the geometry). They will allow to approach of the sound objects under different angles by following recognizable basic lines which will draw the geometrical outline of
the work the global movement of which is articulated by time. Everything will be in everything: each part will have its own identity shared in a common formal space.
The first performance of the first part of the tryptic will take place in the context of the " Look of sounds Forum " in Bremen focused on the music-image
relationship. The instrumental work will be put into perspective by a new videofilm " Papirolas " co-realized in 2013 with your partner Laura Nillni.
Can you talk to us about this new film and this artistic partnership ?
My partnership with Laura goes back up to 1996. Each of us in his area, her that of the image and the plastic art, me that of the music, shared a deep concern for the idea of the transparency to the
point that we intended to share it in order to create a common space in which the music would not be the illustration of the image nor the image a dressing of the sound. By the way I noticed that
my work on the sound and its work on the image made my musical thought very natural, fluid. We proceed in the following way:
Laura explores materials and chooses those with whom we are going to work (natural supports or abstracted figures, that also who seems to her the most appropriate to being moved because as a
painter and sculptor, all setting of images in motion can only be virtual. We can also work the image together so that the sound is not inlaid. She gives the first impulse. The matter of sound arrives as
soon as the tempo of the image is settled; This is the right point when I start. I give a musical sense to the movement of the image before the music exists, but it would not exist either if there was no
proposal of images that I take my own. I behave in a positive way as a vertuous hacker.
It is not completely a coincidence if I am attracted by visual forms proposing courses. The labyrinthic shape is a musical source of inspiration for me as well as the kaleidoscopic shape and moreover my
way of writing the music brings me towards labyrinthic forms. "Papirolas" (which means origami in japanese), makes an echo to another important notion for me, the emergence; the folding action
reveals a dynamics of organization and an almost no-limited mass of complex combinations,
As in the principles organizing my music, we find even there an extreme rationality and also a disorder, the rationality not being a purpose in itself but a principle of organization of the thought and
the material. The musical part itself of this video is supplied with a dynamic re-use of musical moments coming from apathetic phases when writing « Cinq degrés de crayonnage » in memoriam Sol
Lewitt ».
Interview by Jean-Luc Menet
Paris, 08.28.13
Philipp Maintz
rationalism
hedonism
sensualism
Studies with Robert HP Platz to the Academy of Maastricht then with Karlheinz Essl
in the Studio For Advanced Music and Media Technology in the Anton-BrucknerPrivatuniversität in Linz (Austria).
Studies in the CRFMW (Center of researches)at the University of Liège
Training course of Composition and Musical Computing in the IRCAM.
Premiere of the string quartet " INNER CIRCLE " by the Arditti Quartet in 2004.
2005 first work for full orchestra, « heftige landschaften mit 16 bäumen », a commission of the Festival of Salzburg, premiered by Radio-Sinfonieorchester Stuttgart.
2005 british premiere of the same work by the BBC-Symphony Orchestrat
" LIED " geborsten ) is created at the Festival Wien Modern
2010 premiere of his opera " Maldoror " in the opera of Münich
2011 Boarder in the Villa Massimo (Rome)
Raphaël Cendo
excess
energy
fulgurance
beyond the limits
curiosity
Studies piano then composition at the Ecole Normale de Musique-Paris.
2003 : integrates the class of composition at the Superior Conservatory of Music
of Paris in 2003 then the annual musical program of composition and computing
in the IRCAM till 2006.
Receives the teachings of Allain Gaussin, Brian Ferneyhough, Fausto Romitelli and
Philippe Manoury.
2007 R. Cendo is awarded by the Francis and Mica Salabert foundation for winning the first price of the international competition of composition of the the
Symphony Orchestra of Montreal.
Boarder of the French Academy (Villa Medicis) until 2011.
2009 Pierre Cardin Price of the "Académie française des Beaux-Arts".
Lives in Berlin.
Alireza Farhang
multicultural
modern
identity
Studies and teaches composition at the University-Tehran
Founds his own music school-Tehran
2002 Ecole Normale de Musique -Paris and Conservatory -Strasbourg with Ivan Fedele
Studies with Toshio Hosokawa, Michael Jarrell, Hanspeter Kyburz, Brice Pauset, Yan Maresz,
Tristan Murail, Olga Neuwirth et Gérard Pesson
IRCAM-follows the program of aided-computer composition
Thesis of musicology-University-Paris IV-Sorbonne about « co-determination of timber and
melody in iranian composers »
2003 « Haft-Sin »
2004 « Au-delà du néant » for orchestra
2007 Echo-Chaos (2007), Arditti quartett
2008 « Tanin » GMEM Marseille festival
2010 « Seihoun » Paris-Ircam
2011 « Tak-Sîm » Kronos Quartett-Cité de la Musique-Paris
Philippe Manoury
ability to synthetize
art of transition
awaked memory
master of electronic
Studies at the École normale de musique-Paris with Max Deutsch
1975 studies of computer-aided composition with Pierre Barbaud.
1981 Reasarcher IRCAM.
1982 collaboration with Miller Puckette on instrument-machine relation
1983-1987 Head of pédagogiy Dpt at the Ensemble intercontemporain.
1987-1997 teaches composition at the CNSM-Lyon
1998-2000 Head of the lAcadémie européenne de musique-Aix-enProvence festival
1995-2001 résidence in the Orchestre de Paris
1998 opera « 60e Parallèle », Théâtre du Châtelet-Paris
2001 « K…, from Le Procès de Kafka », Opéra-Bastille-¨Paris
2004-2012 Teacher- San Diego University (UCSD)
2011 « La nuit de Gutenberg », Opéra du Rhin-Strasbourg
2012 « Echo-daimónon » Orchestre de Paris
2013 teaches composition at the Music Conservatory-Strasbourg
Yan Maresz
dealer with influences
demanding hedonist
t
1966 Monaco studies piano, percussion, jazz guitar
meeting with J. Mc Laughlin, his alone student, then his main orchestrator
1983>1986 studies jazz at the Berklee College of Music-Boston
1987 scholarship-Princesse Grâce de Monaco Foundation
1988 Julliard School-New York
1994 IRCAM cursus of composition
1997 « Metallics » selectioned by the Int. Rostrum of Composers -Unesco
1995-1997 Académie de France-Roma
2004 Europaïsches Kolleg der Künste-Berlin
2007 teaches électracoustic composition at the CNSM-Paris
2012 résidence in the Civitella Ranieri Foundation
Frédéric Durieux
revisited but in twisting classicism
articulated shapes
proliferating harmonies
evolutive figures and structures
sharp lights, projected shadows
unstable and furtive symetries
1986 CNSMD-Paris with B. Jolas, I.Malec, A. Poirier, A.Boucourechliev
1985-1986 residence in IRCAM
1987-1989 Villa Médicis-Roma
1988 Notes about « History and et evolution of writing music « Old and New and Heritage / proposition
», « Memory and et creation »
Since1991 teaches analysis (composition since 2001) at the CNSM-Paris
1989 « Seuil déployé »
1989 « Marges »
1990-1992 « Là, au-delà »
2007 « Here, not There »
2005 « Traverses 1, 2 et 3 » for orchestra Radio France Orchestra
Price of Composition of the Prince Pierre de Monaco Foundation
Pedagogy
« To speak of » and « to give to see » the music of today is in a permanent process and inseparable of our engagment for the
musical creation of today.
In educational purposes and uptream and downstream to the concert tools in touch with the creation are available such as the brochure of season, short movies under a webformat, and projection of archive and new films with the aim of putting in perspective
the music.
So, in partnership with the " Look of Sounds " Forum (Bremen) the initative of which was commissioned to two young film-makers
Félix Hentschel and Séverin Vogl, a short film of introduction in the series of movies " Musik im Zeitalter ", will be introduced the
music of Raphaël Cendo follonwing to this Karlheinz Stockhausen' s assert :« Eyes often help ears ».
The transmission of the musical and instrumental know-how takes the shape of masterclasses for the classes of composition of the
Ecole Normale de Musique of Paris and those of the Campus Internazionale di Musica of Sermoneta (Italy).
Within an itinerant Academy students in high degree of Conservatories of Paris and the Region are gathered under the leadership
of violonist Jeanne-Marie Conquer and the soloists of Alternance. They are closely involved in the creations of the season which
they partly perform under the name of Alternance Ensemble Academy in Avant-Scène of some of our concerts.
Paris
11.14.13
Conservatoire Régional de Musique / 9 : 30am > 12 : 30
Atelier Contemporain with Philipp Maintz
Auditorium
7 : 00 pm
Ensemble Alternance Academy
Toulon-La Seyne
12.13.13
Auditorium Conservatoire Regional
6 : 00 pm
« Look of Sounds »
Presentation by Katrin Rabus : movies on music
Paris
03.24.14
Salle Cortot-Ecole Normale de Musique
10 : 00 am > 5 : 00 pm
masterclass
Sermoneta
07.01 > 07.07.14
Château Caetani
Campus internazionale di musica
masterclasses
11/11/2013 Clermont-Ferrand Chapelle des Cordeliers « Festival Musiques
Démesurées » / 5.00 pm
« Look of Sounds »
Film « Archive #1- Musik im Zeitalter » (dir : F. Hentschel, S .Vogl-2013)
Film « Musik im Zeitalter-Xenakis »
Music : Raphaël Cendo
11/14/2013 Paris, Auditorium Conservatoire Régional / 7.00 pm
Philipp Maintz's portrait
12/13/2013 Toulon-La Seyne / Auditorium Conservatoire Régional / 8.00 pm
« Look of Sounds »
Film « Archive #1- Musik im Zeitalter » (real : F. Hentschel, S .Vogl-2013)
Film « Musik im Zeitalter-Xenakis »
Music : Raphaël Cendo
C O N C E R T S
02/13/2014 Paris , Radio France festival « Présence » / 8 00 pm
Isabel Mundry, Philipp Maintz, Hans Thomalla, R.HP Platz.
05/03/2014 Bremen, Forum international « Look of Sounds » / 8 00pm
Riccardo Nillni, Philippe Manoury, Mark Andre, Yan Maresz.
07/01au 07/2014 Sermoneta, festival Pontino
Riccardo Nillni, Emmanuele Palumbo Frédéric Durieux, Federico Gardella, Nicolas
Tzortzis, Caterina di Cecca.
ENSEMBLE ALTERNANCE
8, rue d’Ormesson
75004 Paris
Tél.: 33 (0)1 42 71 12 40
mèl.: contact@ ensemble-alternance.com
http://www.ensemble-alternance.com
Lay-out by TambourMajor, photography : Philippe Gontier
L’Ensemble Alternance
Frédéric Baldassare, violoncello
Jean-Marie Cottet, piano
Dirk Descheemaeker, clarinet
Jacques Ghestem, violin
Jean-Luc Menet, flute
Claire Merlet, viola
&
Franck Rossi, sound ingeneer
Thanks to our sponsors.
Supports
« Look of Sounds »
Forum, Bremen / Kulturprojekt K. Rabus, Bremen
Centre Henri Pousseur Musique électronique/ Musique mixte, Liège