Alberto Posadas monograph
Tuesday 27 September 2016, Festival Musica, Strasbourg, France
As part of Festival Musica’s spotlight on the works of Alberto Posadas, Ensemble Linea performed the world premiere of two of his “dark” pieces: La Lumière du Noir, named after the ultrablack Soulages painting, and Anamorfosis, inspired by the anamorphosis perspective technique in painting.
As with the other artists at the 2016 Musica festival, Linea looked to familiarize the audience with Alberto Posadas’ work. One can distinguish between two classes of work in the composer’s oeuvre: those that are based on the Galilean principle that the entire material universe can be described in mathematical terms or inspired by the internal logic and generative capacity of natural patterns, and those that take their inspiration instead from human creation. Anamorfosis belongs to this second class, as it attempts to musically reproduce the distorted perspective technique in painting.
On the other hand, La Lumière du Noir is inspired by the eponymous Soulages painting that Posadas first discovered at a 2009 Centre Pompidou retrospective. This composition attempts a more literal analogy between painting and music: in the same way that the painter brings out the radiance of the color black by the way in which he applies it to the canvas and creates reflections, Posadas attempts to transform the musical material by applying various filtering techniques to the sonic textures.
Oscuro abismo de llanto y de ternura, a denunciation of the killing of children in war zones layers three different musical textures: a “dark” deep bass grumbling forming a dense mass of motion, a chorus of wind instruments, whose multiphonic sounds interact and overlap like liquids at differing densities, and a third “gaseous” layer where specific chord patterns based on Brownian motion models develop. “Like many people,” says Posadas, “I found myself feeling helpless, uncomprehending and disoriented on hearing about the killing of children in the Iraq War. The sincerest way I could respond to that feeling was to try and find the seed of creation amidst all the death and destruction.”
In tribute to composer Harry Halbreich.
Alberto Posadas, La Lumière du noir, 2010, French premiere (18’)
Alberto Posadas, Anamorfosis, 2006, French premiere (23’)
Alberto Posadas, Oscuro abismo de llanto y de ternura, 2005 (20’)
Jean-Philippe Wurtz: Conductor
Manuel Mendoza, Rémi Durupt: Assistant conductors, Keiko Murakami Flute, Coline Charnier Flute, Heidi Caillet Oboe, Ombeline Challéat Oboe, Jean-Marc Foltz Clarinet, Adam Starkie Clarinet, Sarah Taboada Clarinet, Antoine Pecqueur Bassoon, Audrey-Anne Heltz Bassoon, Reto Staub Piano, Marco Fusi Violin, Winnie Huang Violin, Rachel Welsch Violin, Elodie Gaudet Viola, Ondine Simon Viola, Johannes Burghoff Cello, Solène Queyras Cello, Deepa Goonetilleke Horn, Ludovic Derriere Horn, Stephen Altoft Trumpet, Antoine Saintes Trumpet, Thierry Spiesser Trombone, Florent Hervier Bass trombone, Thibaut Fortin Tuba, Olivier Maurel Percussion, Noriko Kawamura Percussion, Victor Hocquet Percussion, Sven Kestel Double bass, Marie-Andrée Joerger Accordion, Zoé Schade Accordion, Philippe Koerper Saxophone.
Conducting master class by Peter Eötvös and Jean-Philippe Wurtz
31 March to 9 April 2017 – Royaumont Foundation, Asnières-sur-Oise Public performance on 9 April at 5 pm
Folowing the success of Jean-Philippe Wurtz and Peter Eötvös’ collaboration in 2013, the Royaumont Foundation decided to invite them to host another exceptional master class in orchestral conducting. 12 young composers were invited to refine their skills in the execution of contemporary music by studying two iconic pieces: Pierre Boulez’s Le Marteau sans Maître and György Kurtág’s Messages de feu Demoiselle R.V. Troussova. Together with the Eotvos Foundation, the master class was divided into two groups: 6 young composers studied Boulez’s piece at Royaumont with Ensemble Linea, while the other 6 studied Kurtág’s work at Budapest with the Hungarian ensemble UMZE conducted by Peter Eötvös. The two compositions were rehearsed and then performed for the public on 9 April at the Royaumont Abbey by Ensemble Linea.
In association with the Eotvos Foundation.
Pierre Boulez, Le Marteau sans Maître, 1954 (35’)
Inspired by poems from the collection Marteau sans maître by René Char.
György Kurtág, Messages de feu Demoiselle R.V. Troussova, 1976-80 (26’)
Inspired by 21 poems by the Russian poet Rimma Dalos.
Peter Eötvös: Conductor, Jean-Philippe Wurtz: Artistic director, Kanae Mizobuchi Soprano, Bertrand Chavarria-Aldrete Guitar, Camille Merckx Mezzo-soprano, Marco Fusi Violin, Keiko Murakami Flute, Laurent Camatte Viola, Heidi Caillet Oboe, Michaela Hrabankova Oboe, Reto Staub Piano, Andrea Nagy Clarinet, Geneviève Letang Harp, Michaela Hrabankova Oboe, Florentino Calvo Mandolin, Deepa Goonetilleke Horn, Beata Mori Cimbalom, Olivier Maurel Percussion, Louis Siracusa Double bass, Victor Hocquet Percussion, Mirae Oh Celesta, Antoine Josselin Percussion, Noriko Kawamura Percussion.