Season 15/16

Festival musica 2015

Thursday 24 September, 8.30 pm, France 3 Alsace Auditorium, Strasbourg

Musica

Introduction to a Raphaël Cendo composition which echoed one of radical 80s icon Helmut Lachenmann’s major works. This journey with the French composer and Ensemble Linea opened up a whole range of new perspectives. 

Movement (– before paralysis) is a music of dead movements, of almost final quivers, the pseudo-activity of which consists of nothing more than rubble…like a beetle floundering on its back.”  This is how Helmut Lachenmann – who turns 80 this year – described the composition in his program note. These words continue to encapsulate the essence of the German composer, who went on to become an influential – albeit controversial – reference for several generations in the quest for new sounds. Lachenmann explains how he proceeded to reinvent musicians’ gestures and sound creation in order to transform his art: “only reincluded, unalienated sound can demonstrate that what is at stake is not the mere refraction of the sounds played externally, but an opening up and renewal of our internal practices of perception.”

Any major work requires complete dedication on the part of its performers and a questioning of their preconceived notions. Musica has been presenting Raphaël Cendo’s works regularly since a “young creator’s” concert in 2006. Cendo’s music doesn’t seem to have any overt connections with that of Lachenmann, but it stems from the same quest for the truly radical. In Strasbourg, two of his masterpieces, Introduction aux ténèbres (performed in 2010) and Registre des lumières (in 2014) gave an impressive glimpse into the composer’s interrogations: “Light is no longer the metaphor for knowledge, thought and creation,” he said in 2009, “in today’s day and age what still holds meaning is what is hidden, buried far from the blinding lights. Shadows still maintain their mystery. (…) to plunge the listener into darkness, yes, but only to better unleash its radiance, its blaze and fury.” His presentation in 2015 sought to further enlighten the listener on the current state of his questioning.

PROGRAMME :

Raphaël Cendo, Corps, 2015, World premiere (27’)

Helmut Lachenmann, Movement (– before paralysis), 1982-84, (24′)

DISTRIBUTION :

Jean-Philippe Wurtz: Conductor, Wilhelm Latchoumia: Solo piano, Keiko Murakami Flute 1, Ayako Okubo Flute 2, Heidi Caillet Oboe, Andrea Nagy Clarinet 1, Laurent Will Clarinet 2, Adam Starkie Clarinet 3, Antoine Pecqueur Bassoon, Samuel Stoll Horn, Stephen Altoft Trumpet 1, Julien Wurtz Trumpet 2, Thierry Spiesser Trombone, Olivier Maurel Percussion, Antoine Josselin Percussion, Victor Hocquet Percussion, Marco Fusi Violin 1, Winnie Huang Violin 2, Elodie Gaudet Viola 1, Marco Fusi Viola 2, AskarIshangaliyev Cello 1, Elsa Dorbath Cello 2, Sven Kestel Double bass, Elisabeth Bigot Piano.

Lived silence

Tuesday 17 November 2015, Théâtre de Cornouaille, Scène nationale de Quimper, France

OVERSEAS IV

Contemporary composer Aurélien Dumont was artist-in-residence at the Théâtre de Cornouaille music center for two seasons.

For Ensemble Linea’s performance at the Théâtre de Cornouaille, Aurélien Dumont presented a rich program reflecting a diversity of references. Under the direction of conductor Jean-Philippe Wurtz, Ensemble Linea led the way to a discovery of compositions by Dumont and his musical inspirations such as Claude Debussy and Gérard Pesson. In this “calling card” performance, Aurélien Dumont’s music is thought out like a time slider, like a mapping project composed of small landscapes scattered with unexpected musical objects ranging from Japanese culture, music from the past to contemporary poetry. Ensemble Linea shares the composer’s affinity for Japan and its ability to combine radical modernity and tradition with seeming atemporality. Similarly, the composer and the ensemble have a common conception of sonic precision and a shared fascination for the encounter of various aesthetic disciplines and musical generations. The result is an amalgamation where the works of Dumont enter into resonance with those of his ancestors, such as his teacher Gérard Pesson or Debussy and Webern. In an arrangement that holds up a mirror to the concert experience itself, Aurélien Dumont alternates chamber music and silent videos by Jennifer Douzenel, an artist whose work held special meaning for the composer. Dumont’s goal is not to use the music or the images to illustrate each other, but to present the videos as a kind of lived silence, one that recalls the delicate and ephemeral stillness that prevails right after the performance of a musical piece.

PROGRAMME :

Aurélien Dumont, Berceuse et des Poussières, 2012(13’)

Aurélien Dumont, Sérieux gravats, 2010 (16’)

Aurélien Dumont, Fiocchi di silenzio, 2014 (2’)

Claude Debussy, Ce qu’a vu le vent d’Ouest (Book I)

Claude Debussy, Ondine (Book II)

Salvatore Sciarrino, Study for violin, 1976 (18’)

Gérard Pesson, Ne pas oublier coq rouge dans jour craquelé, 2010 (10’)

Anton Webern, Opus 7, 1910 (5’)

DISTRIBUTION :

Jean-Philippe Wurtz Conductor, Chie Otsuka Piano, Keiko Murakami Flute, Adam Starkie Clarinet, Thierry Spiesser Trombone, Malika Yessetova Violin, Elodie Gaudet Viola, Johannes Burghoff Cello, Victor Hocquet Percussion.

Oversea III

2 to 21 April 2016, Ensemble Linea’s US Tour

OVERSEAS IV

After its first ventures onto American territory with the Overseas 2011 and 2013 tours, Ensemble Linea returns to the United States for a new season of concerts, workshops and encounters across four cities: Pittsburgh, Buffalo, New York (for the MATA festival) and finally Chicago. 

Through Overseas III, Linea provides an overview of the French contemporary music scene by presenting the works of talented composers such as Cendo, Durieux, Dumont, Sannicandro and Dusapin. The world premiere of the third movement of Frédéric Durieux’s Etudes en alternance was much-acclaimed by American audiences, especially in Pittsburgh, known for being an experimentation and innovation hub.

Education, creative exchange and cooperation were a key component of Overseas III, with Linea developing collaborations with several American universities. In addition to concerts presenting the French repertoire of contemporary music, Linea was also artist-in-residence at the Universities of Pittsburgh, Buffalo and Chicago Northwestern. The Ensemble was thus on hand for the young composers training at these universities, going on to present their works – most of which as world premieres – at the closing concerts of each residency.

Linea was also invited to perform at the MATA Festival in New York, the leading showcase for “vital new music by emerging composers”. In concert at the National Sawdust, Linea performed the works of young American composers commissioned by the Festival.

As such, Overseas III consolidated Linea’s presence in the United States where the ensemble has already gained some recognition by a section of the media and music professionals. The tour was also an opportunity for Linea to continue its exchanges and deepen its understanding of the current American repertoire, which will inform its future projects in France and Europe, just as the first and second editions of the tour led to performances of American music concerts by the Ensemble at Festival Musica in 2012 and at the Arsenal de Metz in January 2014.

All in all, Overseas III is a confirmation of Linea’s commitment to concrete and long-term collaborations with musicians and organizations in the United States of America.

PROGRAMME :

2 and 4 April 2016, Andy Warhol Museum, Pittsburgh

Raphaël Cendo, Rokh I, 2011-12 (15’)
Aurélien Dumont, Fiocchi di Silenzio, 2014 (2’)
Valerio Sannicandro, Constructa, (11’)
Marco Momi, Iconica, 2010 (12’)
Pascal Dusapin, Indeed, 1987(9’)
Frédéric Durieux, Études en alternance 1, 2, 3 (n°3 en Création mondiale) (17’)

+ Works by composition students performed by Ensemble Linea:

Ramteen Sazegari (String trio with trombone), Laura Schwartz (piano, viola, trombone) Jason Belcher (violin, clarinet, trombone, vibraphone), Xinyang Wang (flute, clarinet, piano, violin, cello) Lu-Han Li: (trombone, cello), Brian Riordan (flute, clarinet, violin, cello), Ryan McMasters (new piece), Jeff Weston (violin, viola, cello). 

6 April 2016, Lippes Concert Hall – The Robert and Carol Morris Center for 21st Century Music, Buffalo

Raphaël Cendo, Rokh I, 2011-12 (15’)
Aurélien Dumont, Fiocchi di Silenzio, 2014 (2’)
Valerio Sannicandro, Constructa, (11’)
Marco Momi, Iconica, 2010 (12’)
Pascal Dusapin, Indeed, 1987(9’)
Frédéric Durieux, Études en alternance 1, 2, 3 (n°3 en Création mondiale) (17’)

+ Works by composition students performed by Ensemble Linea:

Alex Huddleston (NY), Roberto Azaretto (NY), Matt Chamberlain (NY), Meredith Gilna (NY), Su Lee (NY), Weijun Chen (NY).

11 and 13 April 2016, New York – MATA Festival, National Sawdust

Yair Klartag, New work for Linea, flute, clarinet, trombone, violin, viola, cello, piano – world premiere
Zeno Baldi
Mimo – clarinet, piano, violin, viola, cello (10’)
Scott Wollschleger, America – solo cello (8’)
Utku Asoruglu flute, clarinet, trombone, violin, viola, cello, piano – world premiere
Weijun Chen New work
Arash Yazdani Demodulation, flute, clarinet, oboe, violin, viola, cello (11′)
Michelle Agnes Magalhaes, Mobile, prepared piano (7’)

18 and 21 April 2016, Mary B. Galvin Recital Hall – Bienen School of Music/ Institute for New Music – Northwestern University, Chicago

Raphaël Cendo,Rokh I, 2011-12 (15’)
Aurélien Dumont, Fiocchi di Silenzio, 2014 (2’)
Valerio Sannicandro,Constructa, (11’)
Marco Momi, Iconica, 2010 (12’)
Pascal Dusapin, Indeed, 1987(9’)
Frédéric Durieux, Études en alternance 1, 2, 3 (world premiere of n°3) (17’)

+ Works by composition students performed by Ensemble Linea:

Morgan Krauss (violin, viola, cello, piano), Carlo Diaz (piccolo, bass clarinet, cello), Michal Raymond Massond (flute, clarinet, trombone, percussion, piano, violin, viola, cello, piano) Wilson Smith (flute, bass clarinet, trombone, violin, viola, cello, piano), Jose Miguel Arrelano (flute, clarinet, trombone, percussions, piano, violin, viola, cello), Noah Jenkins (flute, clarinet, trombone, piano, violin, viola, cello).

DISTRIBUTION :

Jean-Philippe Wurtz Conductor, Keiko Murakami Flute, Andrea Nagy Clarinet, Thierry Spiesser Trombone, Marco Fusi Violin, Elodie Gaudet Viola, Johannes Burghoff Cello, Claudia Chan Piano, Frédéric Durrmann Stage manager.

Festival manifeste 2016

Thursday 16 June 2016 – Festival ManiFeste – Paris, France

Ensemble Linea was invited to IRCAM’s ManiFeste Festival for an exclusive concert at the Centre Pompidou on 16 June 2016. Three original works by Philippe Manoury, Rebecca Saunders and Emanuele Palumbo were performed.

Pierre Boulez often returned to his own works throughout his career, concretizing the latent idea behind or giving unexpected new meanings to the original and hidden “unbreakable core”. In his tribute to Pierre Boulez, it is Philippe Manoury’s turn to return to the erstwhile composer’s work Partita (2012) for violin and electronic by adding instrumental sections. In B-Partita, the instrumental ensemble joins and surrounds the original core constituted by the solo violinist and electronics. Multiple meters exist simultaneously in a dialogue between the soloist and the electronics as the real meets the virtual through the magic of technology.

In a completely different aesthetic vein, Rebecca Saunders extends her solo work Fury for solo double bass by diffracting it through an instrumental ensemble in low registers. Inspired by the five-string configuration of the double bass, Fury II displays a unique fascination for pulsating and deep sounds, the vast percussive potential of the instrument and the pronounced and passionate movements of the solo double bassist. At the same time, the composition also explores the fragility of the instrument in the higher registers – its delicate, ethereal sounds creating an antithesis, a counterpoint of shadows. The seething soundscape is conceived as a silence from which pent-up sounds emerge and return beneath the surface. Despite Fury II’s apparent aggression, a nebulous melodic line emerges, ceasing just before reaching its zenith.

Emanuele Palumbo, on the other hand, attempts to combine “objective” with “fluctuating” tempo, the latter coming from none other than the heart rates of the individual performers. The musicians are fitted with cardio-sensors connected to metronomes, thus providing the ensemble with audible tempos that are integrated into the musical discourse. The audience is invited to follow the physiological parameters of three of the nine instrumentalists, playing the flute, percussion and cello respectively. Each of these musicians is at the core of sub-ensembles, each developing polyphonic textures combining objective and fluctuating tempos in a multitude of permutations. At the same time, the inputs received from the three musician’s hearts is interpreted and manipulated by the ensemble to create an expressive and perceptible form.

PROGRAMME :

Philippe Manoury, B-Partita (tribute to Pierre Boulez), Premiere, 2015-2016 (23’)

Rebecca Saunders, Fury II, French premiere, 2009 (13’)

Emanuele Palumbo, Artaud overdrive, Premiere, 2015-2016 (18’)

DISTRIBUTION :

Jean-Philippe Wurtz Conductor, Hae Sun Kang Solo violin, Florentin Ginot Solo double bass

Stephen Altoft Trumpet, Lise Baudouin Piano, Johannes Burghoff Cello, Heidi Caillet Oboe, Remi Durupt Percussion, Marco Fusi Violin, Elodie Gaudet Viola, Deepa Goonetilleke Horn, Winnie Huang Violin, Marie-Andrée Joerger Accordion, Benoît Maurin Percussion, Keiko Murakami Flute, Andrea Nagy Clarinet

Frédéric Durrmann Stage manager, Serge Lemouton, Emanuele Palumbo IRCAM computer music designers, Marco Liuni IRCAM academic and scientific support, Jean-Julien Aucouturier, Emmanuel Fléty, Arnaud Recher, Frédéric Bevilacqua, Joseph Larralde STMS-IRCAM scientific and technical advisors

SEASON 15/16