For Mezzo-soprano, Mandocello, Guitar and Harp.
On texts by Tono Martinez and technical notes of Abel Robino
Commissioned by Artis Diffusion and TrioPolycordes.
These “Tres Cantos” [“Three Songs”] are part of a project that is constituted by twelve fragments, written by four composers; that is were my arbitrary numeration comes from (III – V and IX). I included the number V from a non-exhaustive list of concentration camps, transit, illegal detention sites, gulags…
For 2 saxophones, 2 clarinets, Trumpet, French horn, trombone, 2 percussions, piano, string quintet (2 violins, viola, cello and double bass) and electronics in 6 channels.
For choreographies by Carolyn Carlson (Larrio Ekson), Graciela Martinez, Jackie Taffanel, Blanca Li, (Nathalie Pernette et Laurent Falguieras), Héla Fatoumi, Jackie Taffanel 2, Elsa Wolliaston, et final (tutti).
Photos: Arthur Péquin
Continue reading La Forêt – The forest (I* – II–III–IV*–V*–VI–VII et VIII) (Les princesses) (2008)
For violin, viola, saxophone, French horn, trombone, percussion and fixed sounds.
Initially conceived for choreographies by Odile Duboc, Véronique Ros de la Grange, Jean Gaudin, Pascale Houbin y Carlotta Ikéda.
Photo: Arthur Péquin
The Marais (marsh) together with the Forêt (the woods) were the two staging for the performance in which the different choreographic propositions were linked together. These five movements, each one 9 minutes long, are composed in a way that certain fixed musical components are brought to the forefront in collaboration with the choreographers (each one dancing their own solo.)
Continue reading Le Marais – The Marsh (I*–II*–III–IV*– V*) (Les princesses) (2008)
For piano, percussion and fixed sounds.
Initially conceived for a choreography by Christian Ben Aïm.
Photo: Arthur Péquin
The original space for which Duel 3 was written was very particular: the theatre’s parking lot, with a reverberation of almost 7 seconds. It was a very profound scene, with an enormous distance for the dancer to cover.
For violin and cello
Initially conceived for choreographies by Guesch Patti
and Andréa Sitter.
Photo: Arthur Péquin
Just like Duel 1, this second piece was thought for two different spaces. The musicians, synchronized using a click track, play the piece in different places and each of them is transmitted through loudspeakers in the auditorium the other is in. Originally, the piece was played two times, the public remains in the auditorium (the theatre’s rehearsal studios) and the interpreters, cords and dancers, interchange stages.
The piece, which has taken on a life of its own, can be played as a traditional duet as well as particular dispositives.
Tempo is uniform throughout the piece, comprised of three big arches in which the material mutates and creates a fusion of both instruments of polyphonic-like escapes. Continue reading Duel 2 * (Les princesses) (2008)
For clarinet in B flat and soprano saxophone.
Initially conceived for choreographies by Nathalie Pernette and Shiro Daïmon.
Photo: Arthur Péquin
The piece was intended to be performed by the instrumentalists within a considerable distance from each other. The original auditory space was a kind of long corridor of 25 metres long and 7 metres wide in which two dancers execute a very slow movement starting from each end into the centre where they intermingle. The public was arranged all through the length of the corridor and that way they perceived the instrumental sound from left to right. Continue reading Duel 1 * (Les princesses) (2008)
For alto saxophone and piano.
Commissioned by Société Selmer
For sale in Editions Billaudot.
For Saxophone quartet
Premiered in Eindhoven on 31th January 2010
Commissioned by AXONE quartet
Edited by Gérard Billaudot.
Rhevma is a greek term that could translate as “current”, is this case as an air current that moves along the reeds of the saxophone.
For soprano, clarinet & electronics.
Commissioned by the French Ministry of Culture.
Dedicated to Françoise Kubler and Armand Angster.
Continue reading Ultimos Movimientos (Last movements) (2014)
For saxophone quartet.
Commissioned by Yendo quartet and Radio France for their broadcasting of Alla Breve.
Tangos utópicos 1
Tangos utópicos 2
Tangos utópicos 3
Tangos utópicos 4
Tangos utópicos 5
Five 2-minute movements. This is the prerogative of “Alla Breve” broadcasting, a challenge. This estimulating limitation was particularly adapted to the idea of forging a series of pieces that combine the incredible virtuosity of these instrumentalists with the twist of a possible, hypothetical, utopian tango.
