**************
The following residencies were organized by synArt and took place at the Foudantion Hans Hartung and Anna Eva Bergman in the city Antibes in 2006/2007.
************
The fisrt residency we had was with the Composer and Director of the group Art Zoyd :
Mister Gerard Hourbette
Gérard Hourbette's work during this residency was mostly concentrated on two directions : - A new music for the film of 1926 « LA CHUTE DE LA MAISON USHER » by Jean Epstein.
- Musics for the script of next ERIC ZONCA's film. Gerard Hourbette will be staying in Antibes for 3 weeks.
« LA CHUTE DE LA MAISON USHER » "ciné concert" by Art Zoyd on the film by Jean Epstein will be created at the "Orchestre National de Lyon" / Auditorium de Lyon on the 7th of december 2006.
« LA CHUTE DE LA MAISON USHER »
Direction Artistique Gérard Hourbette
Musiques Didier Casamitjana / Patricia Dallio / Gérard Hourbette / Kasper T. Toeplitz
Interprétation Art Zoyd
• Yukari Bertocchi-Hamada : clavier
• Patricia Dallio : clavier
• Laurent Dailleau : theremin
• Gérard Hourbette : séquenceurs, pads
• Daniel Koskowitz : percussions, pads
• Jérôme Soudan : percussions, pads
Production : Art Zoyd – Centre Transfrontalier de Production et Création Musicales,, avec le soutien de la DRAC Nord-Pas de Calais, de la Région Nord-Pas de Calais, de l’Agglomération Valenciennes Métropole, de la Ville de Valenciennes et avec le concours de la SACEM
Avec le Soutien de la Fondation Hans Hartung & Anna-Eva Bergman et de l'association LIEU (Nice)
**************
Next residency was with the Composer and ex-Director of the Forum Neues MusikTheater:MisterAndreas Breitscheid.
Andreas Breitscheid revisited two old pieces which, due to the intense work as artistic director during the FNM period (www.fnm.de), he never found time to correct the scores of and adapt the electronics to the experiences made during the rehearsals and the performances at the time. The divine calm, the beautiful surroundings and the extraordinary hospitality of the Foundation gave him the perfect conditions for a concentrated working period which allowed him to accomplish his tasks and additionally inspired future works.
First piece Andreas revisited was "Con-Tour" for Accordeon & Electronics
http://vortice.provincia.venezia.it/breiscvheidanzellotti.htm
First of all, there is the idea of synchronous and juxtaposed movement of musical instrument and electronic equipment, with varying degrees of closeness and distance in acoustic material and in space.
But then also "contours":
Fragments of a by-gone development of musical figures whose separated emphatic articulation and agogic have increasingly caused the disappearance of their former syntactical relations.
Maybe it could also be regarded as a "Venetian" piece: a memory of summer 1984, when, sitting on the boat, I was able to experience the contours, shadows and distorted images of the islands of the Lagoon through ever new perspectives, changes of light, shapes and cut outs; one could say that it was an experience on the eve of my voyage of discovery through a new musical archipelago, following that summer. ( Luigi Nono’s “Prometeo”)
The second piece was " Im Spiegel Wohnen" music-theatre for Voices, Instruments & Electronics
Director: Jean Jourdheuil
Space and image concept: Mark Lammert
Video design: Philip Bußmann
Dramaturgy: Klaus Zehelein, Juliane Votteler
Sound direction: Manuel Poletti, Andreas Breitscheid
Jorge Silva Melo, Marc Barbé: Actors
Tal Beit-Halachmi: Dancer
Lani Poulson: Mezzo-soprano
Sascha Armbruster: Saxophone
Mike Svoboda: Trombone, Tuba
Teodoro Anzellotti: Accordion
Stefano Scodanibbio: Double-bass
Heiner Müller’s text does not describe an image that could possibly exist. Nevertheless, his text (written in 1984 and premiered at Steirischer Herbst in 1985) approaches its object in a manner that recalls the classic genre of the verbal “reproduction” of an artwork. Only gradually does the recipient realize that the landscape in question is fictional and the scenery imagined. The observer is also drawn into the image; a chorus of many speakers reflects on the incidents inside and outside the universe described; and the text drifts from speculation into the philosophical and lyrical observations of an authorial subject.
Andreas Breitscheid attempts to weave this nondramatic text into a theatrical and musical context. With four instrumentalists, he explores new media, the forms of representation they support, and the possibilities they bring with them for exploring the use of space. Sounds are shifted, manipulated, and transformed. They not only wander through space electro-acoustically; they are also altered, shifted, and suppressed at the very moment of production. The many-voiced character of the description and its transformation in the context of the absurd scenery thus find musical expression. In a similar way, Jean Jourdheuil—together with the visual artist Mark Lammert—analyzes the possibilities of translating this set of experiments into theater. Two actors, a female dancer, and a female singer explore the field of the performance together with the musical interpretations and acoustic experiments. How can one constitute meaning in music theater today on the basis of a text that seems precisely to withhold meaning? How should musical processes rooted in computer-controlled material be rendered in space: as a mirroring or reflection, or as a counterclaim to what a body or a tone of the human voice at first asserts unchallenged: an identity ?
The pilot project is intended to programmatically raise the question of the tools of music theater at the present time. It explores a number of aspects, to which future work will return in more targeted fashion. Thus, the investigation and interrogation of Salvatore Sciarrino’s Infinito nero will focus on the question of the human voice in space, while Jörg Mainka will pursue the question of the pivotal claim of the existence of coherent identity in connection with the rendering of patterns of perception.
**************
André SERRE-MILAN and Yu TAO
As part of an exchange between China and Europe, those two composers stayed at the foundation for 15 days to work on their projet "Entre deux 'O' Orient / Occident".
As the Foundation totally screwed up, we're looking for a place to finish this residency in good conditions (at least a place for the composers and musicians to work on the score).
Yu Tao and Andrew Serre-Milan: music, design, implementation.
Born of two composers who work in equal parts at every stage of writing, the show is constructed as a dialogue between two conceptions and cultures. It leads to a "new entity" associated with this meeting.
The show integrates new technologies: video and computer music.
"On the trails of our origins, in the service of a common future" may become the motto of the project.
Starting from the observation of paintings by Hans Hartung and Anna Eva Bergman and their artistic process during a first residency to get started on the project (at the Hartung Bergman foundation in Antibes), composers have broadened their common vocabulary in the direction of "abstraction". This abstraction is the view contemporary landed on our natural surroundings through temporalities, colors, energy, space suggested as a first step by capturing video and sound.
From the vocabulary created for the show derives the music and playwriting, generally echoed by each of them in their very personal way, in a general structure developed together.
"That second game of ping-pong" between the works here is voluntary and conscious.
It is at the service of the General dramaturgy: a vision of the contemporary world, between East and West - a trio box of a video diptych "event held on the duration of the show".
The music will be played by TRIO 3D†:
Virginie COLETTE - Sophie MAR…CHAL - Nadia RATSIMANDRESY
In China, in the following cities :
Pékin (Beijing) : China Conservatory of Music et Center Conservatory of Music
Shanghai : Shanghai Conservatory of Music
Canton (Guangzhou), province de Guangdong
Nanning, province de Guangxi : Conservatory of music
Wuhan, province de Hubei : Conservatory of music
Xi'an, province de Shaanxi Conservatory of music
Hongkong, Conservatory of music
Macao, Conservatory of music
And in Europe in the following cities :
France : Paris and "Région île de France", Lyon, Strasbourg, Marseille, Antibes
Suisse : Genève, Zürich, Basel, Bern, Lugano, Lausanne, Winterthur
Angletterre : Londres
Belgique : Bruxelles
Allemagne : Stuttgart, Berlin
Finlande : Helsinki
The following residencies were organized by synArt and took place at the Foudantion Hans Hartung and Anna Eva Bergman in the city Antibes in 2006/2007.
************
The fisrt residency we had was with the Composer and Director of the group Art Zoyd :
Mister Gerard Hourbette
Gérard Hourbette's work during this residency was mostly concentrated on two directions : - A new music for the film of 1926 « LA CHUTE DE LA MAISON USHER » by Jean Epstein.
- Musics for the script of next ERIC ZONCA's film. Gerard Hourbette will be staying in Antibes for 3 weeks.
« LA CHUTE DE LA MAISON USHER » "ciné concert" by Art Zoyd on the film by Jean Epstein will be created at the "Orchestre National de Lyon" / Auditorium de Lyon on the 7th of december 2006.
« LA CHUTE DE LA MAISON USHER »
Direction Artistique Gérard Hourbette
Musiques Didier Casamitjana / Patricia Dallio / Gérard Hourbette / Kasper T. Toeplitz
Interprétation Art Zoyd
• Yukari Bertocchi-Hamada : clavier
• Patricia Dallio : clavier
• Laurent Dailleau : theremin
• Gérard Hourbette : séquenceurs, pads
• Daniel Koskowitz : percussions, pads
• Jérôme Soudan : percussions, pads
Production : Art Zoyd – Centre Transfrontalier de Production et Création Musicales,, avec le soutien de la DRAC Nord-Pas de Calais, de la Région Nord-Pas de Calais, de l’Agglomération Valenciennes Métropole, de la Ville de Valenciennes et avec le concours de la SACEM
Avec le Soutien de la Fondation Hans Hartung & Anna-Eva Bergman et de l'association LIEU (Nice)
**************
Next residency was with the Composer and ex-Director of the Forum Neues MusikTheater:MisterAndreas Breitscheid.
Andreas Breitscheid revisited two old pieces which, due to the intense work as artistic director during the FNM period (www.fnm.de), he never found time to correct the scores of and adapt the electronics to the experiences made during the rehearsals and the performances at the time. The divine calm, the beautiful surroundings and the extraordinary hospitality of the Foundation gave him the perfect conditions for a concentrated working period which allowed him to accomplish his tasks and additionally inspired future works.
First piece Andreas revisited was "Con-Tour" for Accordeon & Electronics
http://vortice.provincia.venezia.it/breiscvheidanzellotti.htm
First of all, there is the idea of synchronous and juxtaposed movement of musical instrument and electronic equipment, with varying degrees of closeness and distance in acoustic material and in space.
But then also "contours":
Fragments of a by-gone development of musical figures whose separated emphatic articulation and agogic have increasingly caused the disappearance of their former syntactical relations.
Maybe it could also be regarded as a "Venetian" piece: a memory of summer 1984, when, sitting on the boat, I was able to experience the contours, shadows and distorted images of the islands of the Lagoon through ever new perspectives, changes of light, shapes and cut outs; one could say that it was an experience on the eve of my voyage of discovery through a new musical archipelago, following that summer. ( Luigi Nono’s “Prometeo”)
The second piece was " Im Spiegel Wohnen" music-theatre for Voices, Instruments & Electronics
Director: Jean Jourdheuil
Space and image concept: Mark Lammert
Video design: Philip Bußmann
Dramaturgy: Klaus Zehelein, Juliane Votteler
Sound direction: Manuel Poletti, Andreas Breitscheid
Jorge Silva Melo, Marc Barbé: Actors
Tal Beit-Halachmi: Dancer
Lani Poulson: Mezzo-soprano
Sascha Armbruster: Saxophone
Mike Svoboda: Trombone, Tuba
Teodoro Anzellotti: Accordion
Stefano Scodanibbio: Double-bass
Heiner Müller’s text does not describe an image that could possibly exist. Nevertheless, his text (written in 1984 and premiered at Steirischer Herbst in 1985) approaches its object in a manner that recalls the classic genre of the verbal “reproduction” of an artwork. Only gradually does the recipient realize that the landscape in question is fictional and the scenery imagined. The observer is also drawn into the image; a chorus of many speakers reflects on the incidents inside and outside the universe described; and the text drifts from speculation into the philosophical and lyrical observations of an authorial subject.
Andreas Breitscheid attempts to weave this nondramatic text into a theatrical and musical context. With four instrumentalists, he explores new media, the forms of representation they support, and the possibilities they bring with them for exploring the use of space. Sounds are shifted, manipulated, and transformed. They not only wander through space electro-acoustically; they are also altered, shifted, and suppressed at the very moment of production. The many-voiced character of the description and its transformation in the context of the absurd scenery thus find musical expression. In a similar way, Jean Jourdheuil—together with the visual artist Mark Lammert—analyzes the possibilities of translating this set of experiments into theater. Two actors, a female dancer, and a female singer explore the field of the performance together with the musical interpretations and acoustic experiments. How can one constitute meaning in music theater today on the basis of a text that seems precisely to withhold meaning? How should musical processes rooted in computer-controlled material be rendered in space: as a mirroring or reflection, or as a counterclaim to what a body or a tone of the human voice at first asserts unchallenged: an identity ?
The pilot project is intended to programmatically raise the question of the tools of music theater at the present time. It explores a number of aspects, to which future work will return in more targeted fashion. Thus, the investigation and interrogation of Salvatore Sciarrino’s Infinito nero will focus on the question of the human voice in space, while Jörg Mainka will pursue the question of the pivotal claim of the existence of coherent identity in connection with the rendering of patterns of perception.
**************
André SERRE-MILAN and Yu TAO
As part of an exchange between China and Europe, those two composers stayed at the foundation for 15 days to work on their projet "Entre deux 'O' Orient / Occident".
As the Foundation totally screwed up, we're looking for a place to finish this residency in good conditions (at least a place for the composers and musicians to work on the score).
Yu Tao and Andrew Serre-Milan: music, design, implementation.
Born of two composers who work in equal parts at every stage of writing, the show is constructed as a dialogue between two conceptions and cultures. It leads to a "new entity" associated with this meeting.
The show integrates new technologies: video and computer music.
"On the trails of our origins, in the service of a common future" may become the motto of the project.
Starting from the observation of paintings by Hans Hartung and Anna Eva Bergman and their artistic process during a first residency to get started on the project (at the Hartung Bergman foundation in Antibes), composers have broadened their common vocabulary in the direction of "abstraction". This abstraction is the view contemporary landed on our natural surroundings through temporalities, colors, energy, space suggested as a first step by capturing video and sound.
From the vocabulary created for the show derives the music and playwriting, generally echoed by each of them in their very personal way, in a general structure developed together.
"That second game of ping-pong" between the works here is voluntary and conscious.
It is at the service of the General dramaturgy: a vision of the contemporary world, between East and West - a trio box of a video diptych "event held on the duration of the show".
The music will be played by TRIO 3D†:
Virginie COLETTE - Sophie MAR…CHAL - Nadia RATSIMANDRESY
In China, in the following cities :
Pékin (Beijing) : China Conservatory of Music et Center Conservatory of Music
Shanghai : Shanghai Conservatory of Music
Canton (Guangzhou), province de Guangdong
Nanning, province de Guangxi : Conservatory of music
Wuhan, province de Hubei : Conservatory of music
Xi'an, province de Shaanxi Conservatory of music
Hongkong, Conservatory of music
Macao, Conservatory of music
And in Europe in the following cities :
France : Paris and "Région île de France", Lyon, Strasbourg, Marseille, Antibes
Suisse : Genève, Zürich, Basel, Bern, Lugano, Lausanne, Winterthur
Angletterre : Londres
Belgique : Bruxelles
Allemagne : Stuttgart, Berlin
Finlande : Helsinki