No Bad Vibes
Educational concert Trio

This program is elaborated with major pieces by internationally renowned composers, true cornerstones of the identity edifice of these musical personalities. The evocations or allusions to the world of film, dance and science will be fascinating subjects of debate with the public.
Electronics, also very present, will be the “4th man” of this trio.
The programme is as much to be heard as to be seen.

Musicians : François Papirer, Enrico Pedicone, Rémi Schwartz   
Technical Manager : Claude Mathia

                                     
Program :
Il funerali dell anarchico Serantini, Francesco Filidei, 2005, 14’
Ritual Trio, 
Philippe Hurel, 2018, 12’ *
Musique de Table,
Thierry de Mey, 1987, 7′
Having never written a note for percussion,
James Tenney, 2004, env 5’
24 Loops,
Pierre Jodlowski, 2007, 10’
Pad phase,
Steve Reich, 196715’

* piece proposed according to the technical characteristics of the place.

l funerali dell anarchico Serantini, Francesco Filidei, 2005, 14′.
The work pays homage to one of the victims of the police repression of the leaden years, who died in May 1972 in Italy. The musicians observe the audience; the trial begins. Without any instrument other than their own bodies, they let their masks and hands be heard … Il Funerali dell’Anarchico Serantini shows us with a situation in which a series of gestures is imposed on the production of sounds at the limit of the audible.

Ritual Trio, Philippe Hurel, 2018, 12’
“After having written several long pieces for a variety of audiences, I turn to miniature for the second time. I am also taking advantage of this return to a certain form of apparent simplicity to highlight instruments with indefinite heights (temple blocks, wooden drums, various metals without a fixed height, skins, various percussive objects …) whereas my work for percussion was until now oriented towards keyboards. The three miniatures that make up this trio have a hieratic character dictated by recent personal events and by the growing interest that I have, at more than sixty years of age, in the field of the sacred. “Philippe Hurel

Musique de Table, Thierry de Mey, 1987, 7′
A piece for three percussionists with tables for only one instrument. Hand positions and movement “figures” are codified in a repertoire of symbols. The flicks, caresses, rubbed, tapped … are amplified, giving them a real emotional presence. At the meeting point between music and dance, the gesture is as important as the sound produced.

Having never written a note for percussion, James Tenney, 2004, env 5’
Simple but colossal! This is the most famous piece by this American composer, requiring his performer to play it consistently from its quietest to its strongest point, and vice versa. A fascinating exploration of sound, volume, and a demonstration of the hypnotic power of musical drones.

24 Loops, Pierre Jodlowski, 2007, 10’
This work uses the principle of cumulative writing, which consists in using electronic resources to stack sequences played live; what is played by the musicians is, progressively, frozen in time by a looping system. The music thus created is the result of the stacking of successive elements.

Pad phase, Steve Reich, 196715’
Freely adapted from “Marimba Phase”, it is a rejuvenation that this piece undergoes thanks to the infinite possibilities of electronics. All the musical ingredients are gathered to make this piece a hit of the 21st century: a sustained rhythm, a repetitive melodic line of a few notes, a phasing that momentarily loses the notion of tempo, a sound diffusion that increases the perception of space, all of this embellished with a mix worthy of the best trendy clubs on the planet…