March 2024


📅 Saturday 9th of March – 4pm and 8:30pm
📅 Sunday 10th of March – 10am
📍 Espace Orange, Montreal, Canada

©Claudia Hansen

In the frame of la Semaine du Neuf – Le Vivier

Immersive and spellbinding, Pierre Jodlowski’s creation Ghostland plunges us into an area of indefinite boundaries. Composed for electronics and four percussionists, the score also includes the play of lights and writing of the stage space. Extended by a large panoramic screen, the stage changes into an infinite space, a territory where shadows seem to come and play with the bodies.

🎫 Info and booking here


📅 Saturday 16th of March – 8pm
📍 Les Subsistances, Lyon, France

© Caravaggio

Premiere on 16 March 2024 in Lyon as part of the B!ME festival

In a large-scale musical form, RUPTUR explores the notion of a machine that unfolds relentlessly to create a possible trance, endlessly repeating and renewing itself, exploring all its own characteristics, right down to its extremes of timbre, density, dynamics and space.

This machine, set in motion like a perpetual motion, will be deployed over the course of an hour or so until it is brought to a screeching halt, plunging us into a dizzying, questioning void in the final part of the concert. This rupture, as unexpected as it is impactful, opens a breach into a musical space of an entirely different nature.

The continuous flow of sound energy, in constant metamorphosis, aims to transport the listener and the listened into a dual musical and physical experience. The hypnotic effect of repetition is sought as much as an uplifting movement and an emotional tension that builds to a breaking point.

But the two composers do not intend to stop there, and wish to cross the threshold to confront this movement with its negative, as it were: the aftermath of the machine.

This shift, experienced as violent, is also an allusion to the breaking point at which humanity finds itself after two centuries of the Anthropocene.

What happens at the breaking point, in the mind and body, individually and collectively?

What is this aftermath, inhabited by the ghost, the persistence, the vestige of the machine, now in freewheel mode of its own? What kind of music, what kind of listening, can embody this vertigo?

More infos about the program here
🎫 Info and booking here


📅 Tuesday 19th of March – 8pm
📍 MaerzMusik, Haus der Berliner Festspiele, Berlin, Germany

© Christophe Urbain

In the frame of the MaerzMusik festival.

In 1975 Karlheinz Stockhausen composed an enigmatic work for les Percussions de Strasbourg. The score contained more stage directions than music – and the music consisted of twelve melodies linked to the signs of the zodiac, the Tierkreis cycle, and embodied in music boxes that the composer had made himself. The idea for the piece and its title came from his daughter Julika’s surprise when, at the age of two, she discovered small noises inside her, stomach rumbling: “You have music in your belly”, told his father. A few years later, he suddenly woke up one morning after dreaming the piece and put it down on paper.

Nearly fifty years after the composition and premiere of the work at the Royan Festival, les Percussions de Strasbourg have asked Simon Steen-Andersen to imagin a new staging. While remaining faithful to the score and without adding a single note, the Danish artist reveals a potential in a manner suited to the eyes and ears of today through the use of scenic processes and technologies directly inspired by other pieces by Stockhausen. A simple question guided Steen-Andersen’s approach: what could Music in the belly have looked like in Stockhausen’s dream, even before he woke up?

More infos about the program here
🎫 info and booking here