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.

Continue reading Duel 3 * (Les princesses) (2008) →

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) →