A minimalist formula

Contemporary and baroque, where east meets west

Duo / Duration: 1h 15 min

After participating in Ensemble Linea’s concert of Alberto Posadas’ compositions at the Musica Festival together, Marie-Andrée Joerger and Antoine Pecqueur formed an accordion and bassoon duo with the aim of presenting baroque and contemporary works by both Eastern and Western composers. This unusual combination of sources is reflected in the equally unusual pairing of the accordion and the bassoon, creating a singular blend of sounds. In the baroque pieces, the accordion lends a warm, harmonious figured bass which is decidedly and surprisingly modern. In the contemporary pieces, the two instrumentalists outperform each other in virtuosity and musical effects only to blend almost indiscernibly together in the lower registers, lending an almost traditional air to the contemporary repertoire. An intimate encounter which invites us to question our relationship to time and space.


Misato Mochizuki, Pas à pas, 2000 (8’)
Johann Sebastian Bach, Prélude et fugue, 1722 (7’)
Giacinto Scelsi, Maknongan, 1976 (4’)
Georg Philipp Telemann, Sonate en fa mineur (11’)
John Zorn, The Road Runner, 1986 (6’)
Thierry Escaich, Ground, 1997 (8’)
Giovanni Bertoli, Sonata prima (6’)
Toshio Hosokawa, In die Tiefe der Zeit, 1994-1996 (18’)


Marie-Andrée Joerger Accordion, Antoine Pecqueur Bassoon.


4 August 2017 at 8 pm
Les Impromptus de la Ferme Bleue, La Ferme Bleue Gardens, Uttenhoffen, France.

Monday 7 August 2017
Agora International Festival in Leysin, Switzerland.

Exploring timbre: from the traditional to the modern

Duo / Duration: 1h

The combination of harp and oboe is quite rare because very few pieces have been written for it. This concert aims to highlight the richness of this unusual pairing. The works selected explore all the potential of these two instruments with a singular aim: to traverse borders and time periods. Composers have been researching sound for centuries. This duo moves from Renaissance works to more contemporary pieces, covering a range of musical periods and generations of composers. Regarding the latter, the duo transcends borders in selecting composers from France, Germany, Korea, Japan and England, some of whom have even been inspired by each other’s works. The performance is open to all audiences and transports the listener across time and space to discover a plethora of sounds both closer to home and further away.


Heinz Holliger, Mobile, for oboe and harp, 1962 (4’ à 12’)
Marin Marais, Les Folies d’Espagne, 1701 (15’)
Yoshihisa Taïra, Sublimation, 1971 (7’)
Giles Farnaby, Fayne would I weed
William Byrd, Pavane et Gaillarde, 1613 (5’)
Ysang Yun, Rufe, 1989 (13’)


Geneviève Letang Harp, Heidi Braesch-Caillet Oboe

Earth to air, string to wind

Duo / Duration: 50 min

Ensemble Linea invites its listeners on a journey across contemporary and modern music. The voyage begins with Graciante Finzi’s Impression tango followed by Sanae Ishida’s piece inspired by Rafael Alberti’s poem Miro. Then comes Sciarrino’s solo violin piece Deux Caprices, followed by John Zorn’s Road Runner, inspired by the well-known cartoon.  The rhythms of popular dances are weaved into Matti Murto’s Dancing suite, while in Zoom et Aksak the instruments march to the beat of irregular rhythms inspired by Balkan music and dances. Moving from the familiar to the unfamiliar, this violin and accordion duo takes its listeners to diverse and bewitching new lands.


Graciante Finzi, Impression tango, 2005 (6’30)
Sanae Ishida, New work, 2016 (8’)
Clara Olivares, Zoom et Aksak (8’)
Matti Murto, Dancing suite (9’)
Salvatore Sciarrino, Deux caprices, 1975-76 (8’)
John Zorn, The Road Runner, 1986 (6’)


Marie-Andrée Joerger Accordion, Winnie Huang Violin


21 July 2016
Les Impromptus de la Ferme Bleue, La Ferme Bleue Gardens, Uttenhoffen, France.

Tour de flute

Solo / Duration: 1h

This program attempts a small “tour” of the various aspects of the 20th and 21st century repertoire for flute. During the Baroque period, the flute was considered a solo or chamber music instrument, but lost this definition during the Classical Period. It was Debussy, whose “Syrinx”, written in 1904, revived the transverse flute as a solo instrument. Since then, the instrument has continued to inspire contemporary music composers, who have explored all the sonic possibilities of the flute from the percussive to the theatrical, where both the voice and body of the instrumentalist are brought into play.


Joseph Bodin de Boismortier, Prélude (2’)
Claude Debussy, Syrinx, 1913 (4’)
Thierry Blondeau, Bonsaï, 1993 (5’)
Karlheinz Stockhausen Flautina, 1989 (6’)
Richard Barrett, Dying Words II, 2013 (9’)
Daniele Bravi, Respiri In Versi – Madrigale per flauto basso, 2016 (4’)
Stefano Scodanibbio, Ritorno a Cartagena, 2001 (9’)


Keiko Murakami Flute

Contemporary mythologies

Duet / Duration: 1h

Between peoples and cultures, between ages and beliefs, between flutes and percussions, the Linea Ensemble proposes a journey to connect contemporary pieces with yesterday’s mythologies.
The thread that links the different great periods of music evolution as we know it today results from solid thousand years old foundations. Through this program, the two musicians question contemporary aesthetics through past cultures and offering bridges between epochs.


Mark Engebreston, Whac-a-mole, 6’
Toru Takemitsu, Towards the sea, 13’
André Jolivet, Pipeaubec, 4’
David Bird, Lend/lease, 6’
H. W. Henze, 5 Scenes from the Snow Country, 15’
Stefano Scodanibbio, Ritorno a Cartagena, 10’


Keiko Murakami Flute
Victor Hocquet Percussions

Planet stockhausen

Duo / Duration: 1h

This program revisits the works of Karlheinz Stockhausen, shedding light on its quirky, playful and sometimes amusing aspects. The German composer was as fascinated by the cosmic and spiritual universe as he was by the creative potential of the imagination and of childhood. As such, he loved introducing unexpected, dreamlike or even funny aspects into his compositions. Starting with Tierkreis, based on the signs of the zodiac, moving to Flautina’s “flute-spirit”, and ending with In Freundschaft, performed in costume, this program is accessible to all audiences and presents the works of a composer whose breadth of imagination and playfulness are often underestimated.


Karlheinz Stockhausen, In Freundschaft, original version in costume, 1977 (15’)
“I had a vision of a teddy bear playing the bassoon, just like the one I had as a small child (…) only larger, almost alive, filled with humor and a music of his own.” K. Stockhausen
Karlheinz Stockhausen, Flautina, 1989 (6’)
“Flautina is a ‘flute-spirit’ in human costume; magically enchanting.”
Karlheinz Stockhausen, Tierkreis, extracts, 1974-75 (26’)


Antoine Pecqueur Bassoon, Keiko Murakami Flute

Stockhausen for kids

Show for all audiences over 6 years of age – School performances starting from 1st grade

Contemporary music has enormous potential to be appealing to young audiences. Its attempts to experiment with musical effects and push the boundaries between artistic genres makes it an exciting playing ground and laboratory for young minds to run free.

Throughout the 20th century Stockhausen created unusual and amusing compositions that could “speak” to young audiences … his recording of a string quartet playing in a helicopter or performance of In Freundschaft by a musician dressed in an outlandish costume are great examples of this.

Stockhausen for kids depicts a fictional encounter between the German composer and a Japanese musician who admires his works. They begin to speak to each other but, realizing they don’t understand each other’s’ languages, continue their dialogue through their respective instruments instead. Thus begins a musical journey – rich in color and surprises – through the world of Stockhausen.

Stockhausen for kids is a fun, musical initiation for children and adults alike.

“Stockhausen: hidden behind the harsh consonants of this German name lies a composer equally capable of being humorous or radical, playful or serious, inventive or rigorous. An eccentric poet, inventor of bizarre machines, which on closer listening remind us of our childhood fascinations: helicopters, music boxes, trains and space shuttles, in short, anything that takes us on a journey, helps us escape…

A strange guide, capable of seeing and reaching beyond the senses, who will take us on this journey full of adventures!”
Jean-Philippe Wurtz, Art director

“The music of Stockhausen conjures up images. The composer himself spoke of many of his pieces as visions. We therefore decided to create a simple fictional starting point for the show: two strangers meet in a train and realize that the best way they can “speak” to each other is to use their instruments and the beautiful “language” invented by Stockhausen. The flute player paints a landscape of wild reeds, the bassoonist wears a bear costume as he performs his solo, lights and colors play off each other on the stage.

The combination of all these images serves to bring Stockhausen’s music into the light, making it accessible even to those who consider it obscure.” Ismaïl Safwan, Director


Karlheinz Stockhausen, In Freundschaft, original version in costume, 1977 (15’)
Karlheinz Stockhausen, Flautina, 1989 (6’)
Karlheinz Stockhausen, Orchester Finalisten (extracts) 1995-96 (45’)
Karlheinz Stockhausen, Mittwoch aus Licht (extracts) 1995-97 (4h27)
Flöte for flute and tape
Fagott for bassoon and tape
Karlheinz Stockhausen, Tierkreis, extracts, 1974-75 (26’)


Keiko Murakami Flute
Antoine Pecqueur Bassoon
Jean-Philippe Wurtz Art director
Ismaïl Safwan Director
Pascal Grussner Light, sound
Frédéric Durrmann Stage manager
Corine Linden Artistic contributor

Touring members: 3 people (2 musicians and 1 technician)


Ensemble Linea / Compagnie Flash Marionnettes