In the 2019 autumn, Linea set up a new composers residency program. Indeed, the work can not succeed if it’s only limited in the delivery of a work : the collaborative approach is essential. It consists in experimentation sessions, exchange and interaction between creators and performers. The performer has an eminently creative role here: he participates in the genesis, the conception and the realization of the Piece. This work implies availability and shared time. The goal of the residency for composers is to provide this time of creation. Residencies are now an essential tool for any creative process that involves to cross disciplines. The program of the residency consists in three work sessions in autumn, winter and spring with the musicians of the Ensemble Linea, in a laboratory context, with a different temporality from a classic production. Composers can take the time to test, experiment, correct, adjust the text in an original shape. The pieces will be created in the following autumn during a dedicated concert. The residency promotes composers living in the Région Grand Est in France. Two of the selected composers are in this case. This supports regional collaborations and cultural dynamisation of this territory.
Restitution concert will take place during 2020 fall
Selected composers for 2019-2020 are:
Guido Pedicone, Argentina
Guido Pedicone defines himself as well : “A curious and hybrid spirit, my interest in music, and art in general, inspires me to the symbiosis of styles. Evolving in multiple universes, I enjoy playing guitar, electric bass and electronic instruments in projects where others musicians have the same curiosity. I develop and interpret synapses between rock, metal, electronics, electroacoustics and visual art. The mix and the music play creates reactions and build my musical language, heteroclite and singular. “
Feliz Macahis, Philippines
Composer and singer from Manila, Philippines, Feliz Macahis proposes a project where she questions the place of vocal sounds and its role in different performative situations. She wants to work with musicians with different natives languages in order to take advantage of each particularity of the languages.
Through her residency, she wants to study Filipino narrative patterns through the prism of Western music. She doesn’t know yet if it can work. This is also one of the interests of this residency: the possibility of being wrong.
Nicola Medero Larrosa, Argentine
In an totally different approach and style, the young Argentinean composer living in Strasbourg offers Reading Otis – Static Memories Chapter II, for percussion, piano, accordion and electronics in real time. In this piece, he takes as a starting point the voice of singer Otis Redding to create “a sound morphology”. From there, Nicola’s idea is to resound the voice, via electronics, through the instruments and vice versa. As a result, he proposes to rewrite the piece I’ve been loving you too long, with this process.