Ensemble Linea’s 17/18 season

A look at Japanese contemporary musical creation

Wednesday 28 March 2018, 8.00 pm, Opéra National du Rhin, Strasbourg


The Ensemble Linea, invited to the first edition of the Arsmondo Festival, offers you a concert of pieces from the repertoire of Japanese famous composers Toshio Hosaokawa, Misato Mochizuki and Tōru Takemitsu.

The concert will be followed by a meeting hosted by Eva Kleinitz dedicated to musical creation in Japan, with Sylvain Cambreling, conductor and music director of the Yomiuri Orchestra, Toshio Hosokawa, composer and Misato Mochizuki, composer (subject to their availability).


Toshio Hosokawa, Atem Lied
(bass flute solo)

Misato Mochizuki, Pas à pas
(accordion, bassoon)

Toshio Hosokawa,In die Tiefe der Zeit
(accordion, bassoon)

Tōru Takemitsu,Rain Spell
(flûte, clarinette, vibraphone, piano, harpe)

Toshio Hosokawa, Slow Dance
(flute, clarinet, piano, violin, cello, percussions)


Jean-Philippe Wurtz conducting, Marie-Andrée Joerger Accordion, Antoine Pecqueur Bassoon, Keiko Murakami Flute, Andrea Nagy Clarinet, Victor Hocquet Percussions, Reto Staub Piano, Geneviève Letang Harp, Marco Fusi Violin, alto, Johannes Burghoff cello.

Overseas IV

Ensemble Linea ‘s 2017 US Tour


After three Overseas tours in 2011, 2013 and 2016, Ensemble Linea returns to the United States for another season of concerts, exchanges and composition workshops.

This tour is especially meaningful because the Ensemble is being invited by the Buffalo State University, one of the earliest partners of Linea’s US tours, which has already welcomed the Ensemble three times. In addition, the ensemble will be continuing its collaboration with the American composer David Felder, whose “Partial [Dist]res[s]toration” piece Linea had performed in 2011. For this edition of the tour, Linea will have the honor of performing the world premiere of David Felder’s newest piece featuring the solo violinist Irvine Arditti.


3 and 7 November 2017, University of Buffalo

David Felder, World premiere of a new work, for solo violin and ensemble.


Jean-Philippe Wurtz Conductor, Irvine Arditti Solo violin, Keiko Murakami Flute, Heidi Caillet Oboe, Andrea Nagy Clarinet, Geneviève Letang Harp, Reto Staub Piano, Marco Fusi Violin, Laurent Camatte Viola, Johannes Burghoff Cello, Sven Kestel Double bass.

Festival Musica 2017

Thursday 5 October 2017, 6.30 pm, France 3 Alsace Auditorium, Strasbourg


The concert presented by Ensemble Linea this year has strong ties with the Philippe Manoury Musica Festival Composition Academy with which it was associated in 2015. The program brings together two composition professors of the 2017 Academy, Philippe Hurel and Daniel D’Adamo (who also happens to be its artistic director and coordinator) along with Amadeus Regucera, who studied at the Academy in 2015. That same year, the festival commissioned Regucera to perform…and it is time to discover the results!

Premiered in November 2008 by Ensemble XXI, Frontières-Alliages (for 16 musicians) features Daniel D’Adamo’s refined orchestral sense in a composition based on improvisation: “every instant”, varyingly dilated, “becomes crucial”, allowing form to emerge gradually through the course of a composition which makes room for heterogeneous sounds to erupt in traces of metal, earth and wood.

Amadeus Regucera was a drummer in several bands and holds a PhD in composition from the University of California, Berkeley. This year his Torso of Air|Stapled Flesh will introduce Musica Festival audiences to an attempt at revitalizing the contemporary music concert experience, not through electronic methods, but rather by turning the spotlight back onto the musicians themselves. To this end, the composer conceptualizes their staging and even makes them speak, scream, moan and growl in addition to playing their instrument!

Lastly, Philippe Hurel’s Pour l’image (1986-88, for 14 musicians) combines an understanding of spectral music with the composer’s predilection for rhythmic variation. These two dimensions come together in a structure that moves quasi-organically from one sound situation to another, where the instrumental lines fuse and dissociate while remaining attentive to the traditional “return”: identifiable elements that the ear looks for in a musical work.


Amadeus Regucera, new work, world premiere

Philippe Hurel, Pour l’Image, 1986-88 (12’)

Daniel D’Adamo, Frontière Alliage, 2008 (18’)


Jean-Philippe Wurtz Conductor, Keiko Murakami Flute, Jean-Marc Foltz Clarinet, Heidi Caillet Oboe, Antoine Pecqueur Bassoon, Stephen Altoft Trumpet, Deepa Goonetilleke Horn, Thierry Spiesser Trombone, Remi Durupt Percussion, Victor Hocquet Percussion, Marco Fusi Alto violin, Winnie Huang Violin, Elodie Gaudet Viola, Elsa Dorbath Cello, Sven Kestel Double bass, Philippe Koerper Saxophone, Reto Staub Piano,

SEASON 17/18