Gjestespill - Pascal Contet (akkordeon)
Lørdag 4. mars
Inge MORGENROTH (D-1950): DEAR AKKORDEON (1999)
for accordion and electronics
" Pascal Contet also mixed composition and improvisation for a recital that was masterful in both facility and form. Starting out with a darkened room,Contet wove rippling accordion lines into a skein of taped electronics (Dear Kokon from Inge Morgenroth), often using extended high-pitched tones that evoked sine waves. From there, he moved to pieces built from blinding polyphony,using astonishing control to echo and phases lines, remarkable with the realization that no electronics were being used. During the last half of the performance, he drew on extended techniques and thoughtful pacing to develop complex forms. Clashing notes together and shadowing lines with odd intervals , he managed to draw microtones and bent notes out of his instrument, providing one of the highlights of the festival " Victoriaville / Canada
Philippe HUREL (F-1955):PLEIN JEU
for accordion and electronics (2010)
This work was commissioned by the Centre National de Création Musicale /CIRM in Nice and first performed on 19 November 2010 by accordionist Pascal Contet
Plein-Jeu (a term for the full registration of the pipe organ) belongs to a cycle of three pieces titled Jeu (Game) and comprising Hors-jeu ("Offside"). Jeu and Plein-Jeu. Hors-jeu for percussion and electronics was created in 2005 at IRCAM in Paris, while "Jeu" has not been written yet.
In Hors-Jeu the performer's gestures had little impact on the electronics, as implied by the tittle. In Plein-Jeu, on the contrary, every element of the electronics is the consequence and extension of an instrumental gesture even if delayed. Interestingly, in 2009 I wrote a piece for organ and two trombones that left a trace in this work. Pleinjeu's electronics take on the role of the organ, with the aim of generating a kind of meta-accordion sound which is, nonetheless at times closer to the sound of the former.
From a formal perspective Plein-Jeu is in two main sections, in turn structured as a series of variations interspersed by parentheses where the music becomes noisier and more agressive. Every parenthesis represents a release from the sonic tension accumulated in the piece so far , almost a kind of sonic climax mixing pleasure and pain. Throughout the work gestures and sounds return obsessively and often in a diorderly manner, and end up contaminating each other to generate increasingly similar textures. The coda is made up of long threads , the final result the deterioration of the tension building gestures and multiple musical situations occuring from the start of the piece. (Philippe Hurel)
Pascal CONTET (1963-): IN THE DARKNESS (2017)
Total immersion in the darkness to fill how deep are tones and notes
Pierre JODLOWSKY (F-1971): SOMETHING OUT OF APOCALYPSE
for accordion and soundtrack (2012)
Commissioned by Pascal Contet and "Festival Musiques démesurées". First performance : november, 18th 2012 in the "Musiques démesurées" festival in Clermont-Ferrand
I discovered "Apocalypse now", the master piece from Coppola, first of all through sound.
I was listening to the soundtrack of this film, on an old vinyl, full of scratches almoast recovering voices from captain Willard or colonel Kurtz.
Later, I was also reading "in heart of darkness" from Joseph Conrad, the book that Coppola adapted for his film.
Finally, years later, I discover the film, in a small cinema of a dirty suburb ; we were few there…
What remains from this Apocalypse?
Impressions of a mind's motion, both under control and terribly efficient… sound of the colonel Kurtz's voice, in the begenning of the film, let's jump immediately into horror… a strong lessons about war and its absurdity… emotional power… irrational power… the jungle, the river, some men, lost, somewhere or nowhere…
I founded back this vinyl when I was starting to work on this project. And I jumped inside of this soundtracks, but with those scratches and accidents typical from ancient vinyls… And I started to make some links between this apocalypse and the one which could be strongly linked with the iconic past of an instrument like accordeon. Accordeon, symbol of France (those horrible melodies we can hear in today's movies when something is happening in France…). Isn't this absurd ? in a way apocalyptic?
This piece is thus going on like a journey through nostalgic states (some fragments of typical french accordeon dancing music) aswell as through an energetic process, more and more undercontrol where, in the background, one can hear some shootings, machine guns, screams and distorted guitars.
This piece is dedicated to Pascal Contet
Franck Bedrossian (F-1950): BOSSA NOVA
for accordion (2008)
The history of an instrument and its ‘aura’ – attached to music of the oral tradition in the case of the accordion- can sometimes serve as point of departure or even impetus for the composition of a work. In Bossa Nova, the sound of the instrument is iridescent, modified by the profusion of virtuoso gestures, the superimposition of timbres and harmonies, and by the very rapid opposition of the different registers. Even through the rhythmic elements (to which the title refers ironically) and their deployment represent an important part of the musical discourse, their presence also participates in the realisation of a hybrid sound, a blend of the acoustic and electronic worlds.
Commissioned by the French Embassy in Roma for the Suano Francese Festival, this work was premiered by Pascal Contet, to whom it is dedicated.
Pascal CONTET: FINAL (2017)
Inge Morgenroth (D1950)
Live in Berlin . Composer , saxophonist Inge Morgenroth works with diferents artist as such as the fiedl from video, theater , performances.
Pierre JODLOWSKI is a composer, performer and multimedia artist. His music, often marked by a high density, is at the crossroads of acoustic and electric sound and is characterized by dramatic and political anchor. His work as a composer led him to perform in France and abroad in most places dedicated to contemporary music aswell as others artistic fields, dance, theater, visual arts, electronic music. His work unfolds today in many areas and the outskirts of her musical universe, he worked on image for interactive programming facilities, staging and seeks above all to question the relationship dynamic performance spaces. He now claims the practice of "active" music in its physical dimension [gestures, energy, space] as psychological [evocation, memory, cinematic]. In parallel to his compositions, it also occurs for performance, solo or in formation with other artists. Since 1998 he is artistic director of éOle (studio and production center) and Novelum (festival) in Toulouse.
In its projects, he has collaborated with ensembles Intercontemporain (Paris), Ictus - Belgium, KNM - Berlin, the Ensemble Orchestral Contemporain (France), the new Ensemble Moderne - Montreal, Ars Nova - Sweden, Proxima Centauri (France), Court-circuit (France), Ensemble Les Éléments (France)… He also conducts collaborations with musicians such as preferred Jean Geoffroy - percussion, Cedric Jullion - flute, Wilhelm Latchoumia - piano, Jeremy Siot - violin for works and research on the new instruments capacities. He recently produced a trio with Roland Auzet (percussion) and Michel Portal (clarinet). His work led him to develop collaborations with visual artists, in particular, Vincent Meyer, David and Alain Coste Josseau. He also works with the stage designer Christophe Bergon on several projects at the intersection of theater, installation, concert or oratorio. He has received commissions from IRCAM, Ensemble Intercontemporain, the Ministry of Culture, Akademie der Künste (Berlin), CIRM, the GRM, the Donaueschingen Festival, Radio France, the Piano Competition in Orleans, GMEM of GRAME , Siemens Foundation, the Opera of Toulouse, the European project INTEGRA ...
Winner of several international competitions, he won the Prix Claude Arrieu SACEM in 2002 and was in residence at the Academy of the Arts of Berlin in 2003 and 2004. His works and performances are broadcast in key places devoted to contemporary sound arts in France, Europe, Canada, China, Japan and Taiwan and the United States. His works are partly published by Editions Jobert and are the subject of several CD and video recordings.
Philippe Hurel (F-1950)
» Philippe Hurel, was born in 1955. French composer of mostly orchestral and chamber works that have been performed throughout Europe and elsewhere. Philippe Hurel studied musicology at the Université de Toulouse from 1974-79 and composition with Betsy Jolas and Ivo Malec at the Conservatoire National Supérieur de Musique de Paris from 1980-83. He also had private studies in musical computer science with Tristan Murail in Paris in 1983. His honors include the Pensionnaire à la Villa Médicis à Rome (1986-88), the Förderpreis der Siemens-Stiftung in Munich 1995, for Six miniatures en trompe l'œil, the Prix des Compositeurs from SACEM (2002), and the Prix de la Meilleure Création de l'Année from SACEM 2003, for Aura. Mr. Hurel is also active in other positions. He worked as a music researcher at IRCAM in 1985-86 and 1988-89. He taught composition at IRCAM from 1997-2001. He also served as composer-in-residence to both the Arsenal de Metz and the Philharmonie de Lorraine from 2000-02. With Pierre André Valade he founded the new music ensemble Court-circuit in 1990 and has since served as its artistic director. Since 2013 he teaches composition at the Conservatoire national supŽrieur de musique et de danse de Lyon.
His music has been performed by numerous orchestras and ensembles and by conductors such as by Pierre Boulez, David Robertson, Ludovic Morlot, Tito Ceccherini, Jonathan Nott, Esa Pekka Salonen, Kent Nagano, Pierre-André Valade, François Xavier Roth, Christian Eggen, Lorraine Vaillancourt, Reinbert de Leeuw, Bernard Kontarsky...
After his opera Les pigeons d’argile (libretto by Tanguy Viel) premiered at the Capitole de Toulouse, his cycle Traits for violin and cello has been premiered the same year in Paris by Alexandra Greffin-Klein et Alexis Descharmes. In 2015 his orchestral cycle Tour à tour has been premiered at Radio France/Festival Manifeste/ Ircam by the Orchestre Philharmonique de Radio-France conducted by Jean Deroyer. Pas à pas, commissioned by Ernst von Siemens music Foundation has been premiered the same year at the Biennale di Venezia by Ensemble Recherche.
In 2015-16 he has composed Global corrosion for Ensemble Nikel - Premiere in Tel Aviv in december 2016 - and So nah, so fern for Ensemble Spectra which will be premiered in 2017. He is actually composing a piece for Arditti Quartet which will be premiered at Wittener Tage für Neue Kammermusik. After that he will compose a piece for Quatuor Diotima (commission by Diotima , Théâtre d’Orleans, ProQuartet,) and for Philharmonisches Orchester des Staatstheaters Cottbus.
Franck Bedossian (F-1971)
After initial studies in orchestration, and analysis at the Regional Conservatory of Paris, Franck Bedrossian studied composition closely with Allain Gaussin. He continued his studies at the Paris Conservatory (seminars with Gerard Grisey and later Marco Stroppa), where upon graduation he received unanimously the first prize for Analysis, and the first prize in Composition. In 2002–2003 he was in the IRCAM ‘cursus’ for computer music and composition, taught by Philippe Leroux, Brian Ferneyhough, Tristan Murail, and Philippe Manoury. He also studied with Helmut Lachenmann at Centre Acanthes in 1999 and at the Ensemble Modern Academy in 2004.
His works have been played in Europe and recently in the USA by ensembles such as l’ Itineraire, 2e2m, Ictus, Court-Circuit, Cairn, Ensemble Modern, Alternance, the Ensemble Intercontemporain, the Orchestre National de Lyon, the San Francisco Contemporary Music Players, the Danel string quartet, the Diotima string quartet. His works have been performed at festivals such as Agora, Resonances, Manca, the RTE Living Music Festival, l’Itinéraire de nuit, Ars Musica, Nuova Consonanza, Le Printemps des Arts de Monte-Carlo,le Festival International d’Art Lyrique d’Aix-en-Provence, Fabbrica Europa, and Wien Modern. In 2001, he received a grant from the Meyer Foundation, and in 2004 won the Hervé-Dugardin prize of Sacem. In 2005 the Institut de France (Académie des Beaux-Arts) awarded him the “Prix Pierre Cardin” for music composition.
Franck Bedrossian has also received the young composer prize from Sacem in 2007. He was a Rome Prize Fellow at the Villa Medicis from April 2006 to April 2008. Since September 2008 he has been Assistant Professor of Composition at the University of California-Berkeley. His works are published by Editions Bilaudot.
Pascal Contet (F-1963)
For over 20 years, Pascal Contet has been a leader for the creation of contemporary music, and a pioneer of the genre in France. With the creation of around 300 new works to his name, he has collaborated with many composers, including Luciano Berio, Bernard Cavanna, Joshua Fineberg (USA), Jean Françaix, Bruno Mantovani, and Martin Matalon.
Following his private study in France, Contet continued his musical studies in Fribourg (CHE), the Hanover Academy of Music with Elisabeth Moser, the Copenhagen Royal Conservatory (DNK), and the Graz Academy of the Arts (AUT) with Mogens Ellegaard.
Contet is the laureate of multiple foundations and prizes including the Marcel Bleustein-Blanchet Vocational Foundation (awarded and bestowed by French President, François Mitterrand), the Yehudi Menuhin Foundation, the Gyorgy Cziffra Foundation, the Lavoisier Foundation, the Gus Viseur Prize, and the Samfundet Prize (awarded by the Danish government).
As a soloist, Contet has performed under the direction of many notable conductors including Pierre Boulez, François Xavier Roth, Pascal Rophé, Jean-François Heisser, Jean –François Verdier, James Wood, Susanna Mäkkli, Denis Comtet, Arie Van Beek, Laurent Petitgirard, and Daniel Tosi. He has performed and been the dedicatee of many concertos by a wide range of composers, including Bernard Cavanna, Benjamin Ellin, Jean Françaix, and Christophe Julien. He has appeared in performance with the Orchestre de la Suisse Romande, the Philharmonisches Orchester Freiburg (DEU), the Orchestre de Chambre de Lausanne, the Orchestre de Bratislava, the Orchestre Les Siècles, the Orchestre Philharmonique de Radio France, the Orchestre National de Lille, the Orchestre National de Lorraine, the Orchestre Victor Hugo - Franche-Comté, the Orchestre d’Auvergne, the Orchestre de Perpignan-Méditerranée, the Orchestre Philharmonique de Strasbourg, the Orchestre de Picardie, the Orchestre Symphonique de Bretagne, the Alma Chamber Orchestra, and the Orchestre de l’Opéra National de Paris where he premiered Mantovani’s opera, Ahkmatova.
Contet has collaborated with a wide variety of artists in diverse fields of expertise, from theater to electronic music, to create new and innovative music and mixed media productions. Contet also enjoys improvisation and jazz. His collaborative improvisation CD, “3,” with contrabassist, Joëlle Léandre, which débuted in March of 2014, received the “Choc” award from Jazz Magazine, the “Coup de Coeur” from the Académie Charles Cros, and was elected to be on the Citizen Jazz website in 2014. In June of 2015, under his personal label, PLEIN JEU, distributed by Socadisc, Contet released UTOPIAN WIND, a compilation of 13 “comprovisé” titles that combine improvisational and compositional techniques. In 2014, he performed a new trio at the Europa Jazz Festival with artists Björk, Scanner, and Joel Cadbury in a mix of electro, rock, and contemporary music.
Contet works frequently on the connection between music and image, accompanying many cinema concerts and compositions for TV and cinema in this capacity, including the film Port-Au-Prince Dimanche 4 janvier by François Marthouret (screenplay by Marc Guilbert and Peter Kassovitz), based on the book Bicentenaire by Lyonel Trouillot.
An avid composer, Contet has also worked on many pieces for dance and theater including No Way Out (2004) for his duo with Jin Xing (performed and broadcast by the Shanghai Opera, France 2, TF1, Casino de Paris, and the Halle Tony Garnier in Lyon), Trio 03 for the Centre Chorégraphique National de Belfort (Odile Duboc) (2003), and La Madeleine Proust- Haut Débit de Lola Sémonin, which has been in production since 2008. His joint research with the artist Miguel Chevalier culminated in an interactive visual music performance, L’origine du Monde, which was premiered on September 19, 2013 at the Enghien Center for the Arts to critical and public acclaim.
Visit Contet’s website, www.pascalcontet.com, for a comprehensive look into the things that inspire and propel him