#pascal dusapin

[16strings]

77th CONCOURS DE GENÈVE STRING QUARTET SEMI-FINAL - RECITAL 2 Session 1

Quartett Hana (2nd prize ex aequo) Fuga Miwatashi, Violin 1 & Violin 2 Gyurim Kwak, Violin 1 & Violin 2 Emiko Yuasa, Viola Johannes Välja, Cello 

P. Dusapin Quatuor V L. v. Beethoven String Quartet n°15 in A minor, Op. 132

[blu2alpaca]

The Hercules Hall @ 2023.05.12

Liza Lim: Mary / Transcendence after Trauma for orchestra [2020/21]

Francesca Verunelli: Accord, chord and tune for accordion and orchestra [2021]

Pascal Dusapin: Morning in Long Island for large orchestra [2010]

Krassimir Sterev Accordion

Symphony Orchestra of the Bavarian Radio

홀 이름리 헤라클래스라서 웅장하군- 했는데 이 정도일줄이야.

홀 구경만으로도 온 보람이 있다 느껴질 정도였다. 이것이 바바리안의 위용인가.

그리고 난해한 이 날의 프로그램이 시작 되었다. 연주되는 세 곡 모두 2010년 이후 작곡된 곡이고 두 곡은 세계 최초, 다른 한곡은 독일 최초 연주 곡.

리사 림의 곡은 나쁘지 않았다. 작곡가의 성장 배경땨문인가, 여기저기 아시아적 요소가 스쳐지나가고 처음 보는 악기가 있었으며 피아노를 독주 악기가 아닌 오케스트라의 일부로 사용한 점이 독특했다.

두번째 곡. 아코디언이 협연하는 곡이였는데 난해했다. 전혀 이해 할 수 없었고 저 타악기 연주자는 왜 갑자기 루프를 만들어 카우보이처럼 머리위로 흔드는 건지 알 수 없었다. 관객으로써 내가 음악을 좋아하는 이유는 아름다워이다. 선율이든 하모니든 그 절대적아름다움에 감탄하고 감정이 움직이고 웃기도 울기도 하는 것이다. 근데 전혀 알 수 없었다. 바이올린은 활을 비벼 소리내는 악기이지 손으로 뜯으라고 만든 악기가 아닐텐데(이것은 피치카토가 아니였다!!) 소리가 불쾌했다. 나쁘게 이야기 하고 싶지 않은데 솔직히 전혀 이해 할 수 없었다.

세번째 곡은 나쁘지 않았다. 곡 제목이 “롱아일랜드의 아침”이라서 조용한 분위기를 예상했는데 롱아일랜드의 아침은 생각과 다르게 스릴이 넘치는 분위기였다.

연주 중간 군데군데 사람들이 흠칫하는 걸 느꼈는데 관객들은 크게 웅성웅성 하지 않았고 곡이 끝나면 일단은 박수로 환호했다. 신기한 악기가 나왔을 때 한 관객이 카메라 꺼내들고 동영상 찍었는데 주변인들이 처음엔 눈치만 주다가 그 행동이 반복되자 주변 관객들이 제지했다. 아주 조용히 일어난 일이였는데 신기한 광경이였다. 뮌헨 관객들은 예의가 바르고 수준이 높다- 고 느꼈다.

[sdeet]

そういやオリンピックもうすぐだ

開会式の演出誰がやるんだろ？　パリオペとかで演出か振り付けしてたりするだれかだろうな～と漠然と思っているだけだったので検索した。Thomas Jollyさんだそう。作品見たこと多分ないな。どんな演出するんだろうね。

それはそうとして、パリ五輪の開会式に出演する予定だったダンサー・パフォーマーが待遇に不満があってストライキするっていうニュースが出てて、わーすげーフランスっぽいって思ってしまった。

もう今週末開会だがどうなるんだろうね。 日本開催の大規模イベントは基本反対派なので、けっこうやきもきしながら反対派活動してましたが、よその国での開催は他人事なのでめちゃ野次馬気分になってしまう。

あと今回から競技種目にブレイキン（いわゆるストリート系のダンス）が入るのでたぶんそこは観る。ストリートダンス系は昔から社会に認められるべくロビー活動が活発なので、学校教育に食い込んだり健全なスポーツ競技化したり団体パワーあるよねって思って見てる（私はストリートダンス系の文化に属していないので競技化をいいともわるいとも思わない）。

バレエは発生の経緯が王権の表象とか貴族の儀礼とか最初からそもそも権威構造だもんでそういうかんじにはならんのよな。コンクールとかほぼ競技だけど。

話はズレるが、スペインで「闘牛はスポーツ欄ではなく文化欄にニュースが載る」という話を聞いて、フィジカルアーツとかフィジカルアート（これ日本語表記で意味が色々違ってくるのどうにかならんのか？）とか呼ばれるものの類の、スポーツか？　芸術文化か？　というカテゴリ分けせざるを得ない、もしくは自分たちがやっていることをどう思っているか、の部分のいろいろをぼんやり思うなどした。考えてるだけでべつに答えとかはない。

[chansonsinternationales]

Un chemin mélancolique - autour de Pascal Dusapin

[garadinervi]

Xenakis révolution. Le bâtisseur du son, (documentary/biography, 2022, 56', in French w/ French, Italian, English, Spanish, and Polish sub, and German dubbed), Directed by Stéphane Ghez, Arte / Cinétévé, 2022. Feat. Mâkhi Xenakis, Pascal Dusapin, George Aperghis, Jean-Michel Jarre, Trio Xenakis/Collectif Xenakis [Adélaïde Ferrière, Emmanuel Jacquet, Rodolphe Théry, and Jean-Baptiste Bonnard, Othman Louati, Emmanuel Curt]

(image: Xenakis à Persepolis, 1971. Photo: © Mali Letrange / Coll. Famille I. Xenakis)

[already-14]

Time Zones (1989) Quatuor à cordes n° 2 [String Quartet no. 2] Composer: Pascal Dusapin (b. 1955) Performers: Arditti String Quartet (1994) _______________________________________________________________ "C'est au moment où Pascal Dusapin composait Times Zones, son second quatuor à cordes, que l'idée d'un « quatuor infini » lui vint à l'esprit, dans lequel chaque nouvelle pièce au sein d'une série potentiellement infinie (ou peut-être n'y en aurait-il que vingt-quatre) serait un commentaire de la précédente et aussi une vision des problèmes à affronter dans la suivante.

(via Pascal Dusapin - Time Zones (1989) Quatuor à cordes n° 2 - YouTube)

[orpheusz]

Pascal Dusapin - La melancolia "Operatorio": III. Saturnus · Nan Christie · Cécile Éloir · Timothy Greacen · Martyn Hill · Orchestre National de Lyon · Choeurs de Lyon-Bernard Tétu · David Robertson· 

[turangalila]

In & Out - Pascal Dusapin  

Alvaro Rosso

Built on pentatonic modes and some rhythmic features of jazz, these two pieces for double bass (completed in New York January 7, 1989) are just “exercises of style.” The basic materials are moved and registered “elsewhere”. There are currently no quotations. The first part “IN” is played pizzicato. The second, “OUT” is played arco.     dedicated to Jean-Paul Celea

[gnossienne]

Pascal Dusapin, Macbeth Underworld (La Monnaie, 2019)

[discazo]

Obras de Rihm, Dusapin y Mantovani por Renaud Capuçon.

Más detalles en AllMusic.

[cafezimmermann]

Coco & Igor

Before leaving for Weisendorf, I picked up a few DVDs from the library, just in case I had some extra time on my hands to kill. That didn’t turn out to be, but I did manage to smuggle in Jan Kounen’s 2009 film Coco Chanel & Igor Stravinsky by watching it at fifteen-minute intervals during the week. Don’t run out to get it – not only is the second half of the movie terribly annoying, the mere idea of having an athletic, 6-foot tall Dane (Mads Mikkelsen) assume the role of the diminutive, 5’3”-tall Russian composer is utterly ridiculous. Then again, if Mads is interested in taking over the character roles of vertically challenged people, then he should give me a call. We can make a deal. The trailer:

Indeed, his chiseled, frieze-like body dominates the film, as does the svelte figure of Coco Chanel, who played by the French actress Anna Mouglalis. 

Throughout the movie, the two strike their poses against a series of drop-dead gorgeous Art Deco backdrops – Coco Chanel as a strong, modern, independent woman who is relentless at getting what she wants, and Igor Stravinsky as a brooding, tight-lipped enigma of a man who only seems to be interested in serving his music. It works at first; the tension that you feel between the two as they realize that they somehow “understand” each other on a deep level is tremendous. But when the two consummate their affair, the poses they assume quickly become wearisome. “Coco and Igor jump into bed, and it’s a bore,” was the headline of the Politico film review. The numerous scenes of their tandem nakedness only seemed to serve somebody’s voyeuristic desire of seeing what Mads Mikkelsen and Anna Mouglalis look like without clothes on. 

Still, it was interesting to contemplate how the stay of the Stravinsky family at Chanel’s home in the Paris suburb of Garches in 1920 “might have played out.” The chance meeting of two great minds is always fascinating – particularly when they are able to look into each other’s soul but aren’t free to express their affection for each other openly. But since it’s a film, the barriers do fall. Meanwhile, Catherine Stravinsky, who suffers from tuberculosis and is often seen bedridden in the manor, slowly becomes aware that something is awry when she notes that Igor’s compositional style is suddenly different: “Your music has more passion,” she tells him. Sadly, the film doesn’t seem to be interested in delving further into how Stravinsky’s music might have displayed such passion, apart from a scene where Stravinsky can be seen playing his piano sonata (at least, I think that is what it is – can someone please help me here?) before Coco Chanel enters, the playing suddenly breaks off and there is more sex at the piano.

Afterward, Chanel leaves for Grasse to develop her signature perfume. The two are obviously smitten with each other, but Chanel is most likely already annoyed at the fact that Stravinsky won’t take the risk and run off with her. Things begin to fall apart – love turns to hate, the two women are filled with jealousy for each other, and Stravinsky’s furioso side of his personality takes hold of him as he pounds away at his piano in the back room of the manor. Madame Stravinsky leaves with the children, and… at this point, I turned off my laptop and went out to go for a walk. I didn’t care anymore about how the film ended.

Fortunately, the opening scene of the film, a reconstruction of the premiere of Le Sacre at the Théâtre des Champs Elysées in Paris in 1913, is definitely worth watching, even with Mads assuming the role of the great Igor. Back when I was at Oberlin, I was one of Tom Kelly’s “guinea pigs” for his book First Nights – Five Musical Premieres, which takes a closer look into the historical context and circumstances surrounding the first performances of, among other works, Stravinsky’s Sacre. Tom Kelly, with his gentle, upbeat North Carolina accent always had a natural talent for spinning a fine story during our lessons – as if you had William Styron in front of you. And you feel that in his book. It’s simply a good read, devoid of the dryness that makes most academic textbooks hard to digest.

I am wondering if Jan Kounen might have read Tom Kelly’s book when he was getting ready to film Coco Chanel & Igor Stravinsky because I was struck by how closely the opening scene follows what Kelly describes to his readers. In short, the film is “authentic,” not only in terms of the costumes and the choreography of Le Sacre itself but in the details as to just how violently the public reacted to the performance, so much so that the gendarmes had to be called in. There are numerous accounts of the evening – Stravinsky himself described it in 1962:

“Mild protests against the music could be heard from the very beginning of the performance. Then, when the curtain opened on the group of knock-kneed and long-braided Lolitas jumping up and down (Danse des adolescents), the storm broke. Cries of “Ta gueule” came from behind me. I heard Florent Schmitt shout “Taisez-vous garces du seizième”; the “garces” of the sixteenth arrondissement were, of course, the most elegant ladies in Paris. The uproar continued, however, and a few minutes later I left the hall in a rage; I was sitting on the right near the orchestra, and I remember slamming the door. I have never again been that angry. The music was so familiar to me; I loved it, and I could not understand why people who had not yet heard it wanted to protest in advance. I arrived in a fury backstage, where I saw Diaghilev flicking the house lights in a last effort to quiet the hall. For the rest of the performance, I stood in the wings behind Nijinsky holding the tails of his frac, while he stood on a chair shouting numbers to the dancers, like a coxswain.”

Kounen portrays this brilliantly in his film, succeeding to bring to life something that my mind’s eye has tried to imagine whenever I have stood on the stage of the Théâtre des Champs Elysées and looked out into the parquet of the auditorium. And yet, he also seemed unable to answer one key question that has always bothered me: How did they manage to get in so many musicians into orchestra pit? For, according to Kelly: “Stravinsky’s orchestra ended up being very large. He had originally intended it to be smaller, but encouraged by Diaghilev (who was no doubt feeling expansive because of the enormous sum Astrc was paying for the 1913 season), he increased its size.”

Kelly then tallies the number of musicians needed for Le Sacre, arriving at a total of ninety-nine players. “This may well be an enormous orchestra, but in a sense it is also chamber music, in that practically each player, even in the strings, has a unique part.” In terms of strings, this translates to “eight desks of first violins (all eight desks are needed on p. 20 of the score); seven desks of second violins (all needed on p.77); six desks of violas (all needed on p. 84); at least seven cellos (five soloists plus “the others” on p. 75); and a famous passage that calls for six solo double basses (p. 7).” There were “quintuple winds – that is, five of each wind instrument, though the five musicians were often required to double by switching from one instrument to the another.”

In the film (I stopped it and counted) it seems that 60 musicians involved, without the conductor – in other words, 39 less than what would have been needed to perform Le Sacre “properly”:

And again, from first-hand experience, I know that the theater pit is not big. Back in 2012, Akamus played a production of Pascal Dusapin’s Medea. We had 22 musicians, six solo singers, and the conductor in the pit, and even then the living quarters were quite cramped! Therefore, I suspect that something “had to give” for the premiere of Le Sacre. But what? Kelly even goes so far as to mention the problem in his book: “The orchestra pit, though ample, was small for the enormous orchestra of Le Sacre. Stravinsky wanted to expand the seating area by changing the layout of the theater. To remove the front seats in the auditorium, however, would have required taking welding torches to the brand-new theater, in addition to resulting in a loss of revenue. Ultimately, the orchestra succeeded in fitting into the pit, although the seating was not ideal.”

“Not ideal” is putting it mildly. Men the size of Mads Mikkelsen, impersonating Stravinsky, must have found it terribly frustrating. But then again, Mads was probably only waiting for the second half of the movie to get underway.

[newbooks-tulibrary]

The courage of composers and the tyranny of taste : reflections on new music

Bálint András Varga is perhaps the world's most respected interviewer of living composers. For The Courage of Composers and the Tyranny of Taste: Reflections on New Music, Varga has confronted thirty-three composers with quotations carefully chosen to elicit their thoughts about an issue that is crucial for any serious creative artist: How can one find courage to deal with the sometimes tyrannical expectations of the outside world? The result is an imaginary roundtable at which we encounter fresh, revealing, previously unpublished statements from such world-renowned composers as John Adams, Friedrich Cerha, George Crumb, Sofia Gubaïdulina, Georg Friedrich Haas, Giya Kancheli, György Kurtág, Helmut Lachenmann, Libby Larsen, Robert Morris, and Wolfgang Rihm. Also represented are composers who are becoming more prominent with the passing years -- Chaya Czernowin, Pascal Dusapin, and Rebecca Saunders -- as well as conductor-composer Michael Gielen, festival director Nicholas Kenyon, and music critics Paul Griffiths and Arnold Whittall. In The Courage of Composers and the Tyranny of Taste, composers and other insightful individuals comment on choices made, traps avoided, unforeseen consequences, proud accomplishments, occasional regrets: the whole range of experiences central to artistic creativity. Bálint András Varga is the acclaimed author of György Kurtág: Three Interviews and Ligeti Homages; Three Questions for 65 Composers; and From Boulanger to Stockhausen: Interviews and a Memoir (all available from University of Rochester Press).

[chansonsinternationales]

Les concertos de Dutilleux et Dusapin sous l'archet du violoncelliste Victor Julien-Laferrière - ResMusicaResMusica

[dermontag]

41 Jahre lang hat er den Rundfunkchor Berlin geprägt, erst als Sänger, nach der Wende dann als Manager: Zum Sommer geht Hans-Hermann Rehberg nun in den Ruhestand. Und weil er die Amtsübergabe an seine Nachfolgerin Rachel-Sophia Dries so rechtzeitig eingeleitet hat, konnte die neue Chordirektorin bereits eigene Akzente in der Programmplanung der kommenden Saison setzten. Beispielsweise, dass beim traditionellen Weihnachtskonzert im Berliner Dom diesmal Sakralmusik von ukrainischen Komponisten zu hören sein wird. Und auch die neue Reihe der „Rundfunkchor Lounge“ im Heimathafen Neukölln geht auf ihre Initiative zurück: Moderiert von Boussa Thiam wird es dann um Themen wie Mígration und Alleinsein gehen. Rachel-Sophia Dries ist ab August die neue Chordirektorin.Foto: Peter Adamik Insgesamt singt der Rundfunkchor Berlin 2022/23 in 43 Konzerten, fünf Mal ist er bei den Berliner Philharmonikern eingeladen, drei Mal beim DSO, jeweils einmal beim Konzerthausorchester und beim RSB. In der Deutschen Oper agiert der Chor bei einer szenischen Fassung von Verdis „Requiem“ mit auf der Bühne. Chefdirigent Gijs Leenaars leitet neben dem Dom-Konzert auch noch einen literarisch-musikalischen Abend mit Werken von Mahler und Pascal Dusapin. Tickets für Schüler:innen und Studierende werden künftig bereits im Vorverkauf ermäßigt angeboten

[already-14]

Two walking (1994) cinq pièces pour deux voix de femmes [five pieces for two women's voices] Composer: Pascal Dusapin (b. 1955) Text by Gertrude Stein Performers: Françoise Kubler & Marie-Madeleine Kœbelé

(via Pascal Dusapin - Two walking (1994) cinq pièces pour deux voix de femmes - YouTube)

[infor247fr]

regardez "Macbeth Underworld", le très bel opéra de Pascal Dusapin, sur le site de l'Opéra Comique info247 Le nouveau opéra de Pascal Dusapin, "Mac...