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ENSEMBLE ALTERNANCE 2012/2013 ENSEMBLE ALTERNANCE : Frédéric Baldassare : cello, Jean-Marie Cottet : piano, Dirk Descheemaeker : clarinet, Jacques Ghestem : violin, Jean-Luc Menet : artistic manager & flute, Claire Merlet : viola, Dimitri Vassilakis : piano Mark Andre, Pierre Boulez, Raphaël Cendo, Geoffroy Drouin, Helmut Lachenmann, Philipp Maintz, Hans Thomalla, Luca Antignani, Alireza Farhang, Federico Gardella,Gérard Grisey, Olga Neuwirth, Gérard Pesson, Alessandro Solbiati, Nicolas Tzortzis 2012/2013 INSECURITY... Under the influence of the current events and the media hiccup, the meaning of some words is often reduced to a limited field. Replaced in the context of our concern, the word insecurity takes another meaning and reveals all its positive value. Because the matter is here about a fertile insecurity which replaces human in his dignity and his capacity in the knowledge from which he draws means to act. "The mistakes and the wandering are inevitable when we advance on what is unusual " says Heidegger, an unusual of which the insecurity becomes then an integrated element. If we had to search for a common point between the composers scheduled during the 2012-2013 season, we could find this one : the insecurity, as a fertile compost of the imagination and convenient to the emergence of an authentic and new musical thought: a novelty about which Pierre Boulez will say « it is the unpredictable which becomes required ", and which the expression reveals a real thought educating others by a curiosity in front of all which seems to be obvious. But there is also a necessity of another nature: that the reflection in a musical thought and then the act of writing are imperative upon these composers with sometimes almost an urgency and such an acuteness as this neccesity may be considered as a strength of life. And it is good of this energy the interpreters are the recipients then the bridge towards an audience enlisted in a positive spiral. With the same and the indestructible enthusiasm, we shall try to summon it during the season 2012-2013, on occasion of residences in the Fernsehmusik Forum of Bremen, the National Domain of the Castle of Chambord or still in the Campus Internazionale di Musica - Sermoneta. Jean-Luc Menet Some composers of our season 2012/2013... Geoffroy Drouin philosophy coherence fluidity Studies at the Superior Conservatory of Music of Paris with Gérard Grisey, Marco Stroppa and Marc-André Dalbavie then to Royaumont with Brian Ferneyhough and Jonathan Harvey. 2002 Program of composition and computing of the IRCAM. Collaboration with the IRCAM ion a research project about orchestration. The Pompidou Center dedicates him a workshop directory for his work " Crispy Grain ". 2008 Price of the André Boucourechliev Foundation Doctorate within the École des Hautes Études en Sciences Sociales 2008 responsable of a cycle of seminars of composition in Ircam. Teacher at the music Conservatory of the Center of Paris and the University of Versailles -Saint Quentin-en-Yvelines. Philipp Maintz rationalism hedonism sensualism Studies with Robert HP Platz to the Academy of Maastricht then with Karlheinz Essl in the Studio For Advanced Music and Media Technology in the Anton-Bruckner- Privatuniversität in Linz (Austria). Studies in the CRFMW (Center of researches)at the University of Liège Training course of Composition and Musical Computing in the IRCAM. Premiere of the string quartet " INNER CIRCLE " by the Arditti Quartet in 2004. 2005 first work for full orchestra, « heftige landschaften mit 16 bäumen », a com- mission of the Festival of Salzburg, premiered by Radio-Sinfonieorchester Stuttgart. 2005 british premiere of the same work by the BBC-Symphony Orchestrat " LIED " geborsten ) is created at the Festival Wien Modern 2010 premiere of his opera " Maldoror " in the opera of Münich 2011 Boarder in the Villa Massimo (Rome) To create means establishing possibles which work to arouse new manners to feel, think, imagine. What are yours ? It's a great pleasure to start once again in hand of these works which I was able to consider as finished at the moment. The resumption of this musical material opens me then of new perspectives likely to incite more still my imagination. It is almost as if I launched in a process of inspection of the reverse of a medal, the dark side of an already known musical material. It is the same attitude which guided me by reconsidering the material of the trio with piano « Tourbillon » and which brought me to compose "Trawl". And it is still in the same state of mind as I am going to reconsider "Trawl" in the perspective to write a new work during my residence in the Castle of Chambord in the next spring. The same material will be of use to elaborate another work for four soloists and large ensemble which will be premiered on occasion of the Beethovenfest in Bonn. Sérialism, spectralism: two aesthetics veins which renewed our listening. How do you place you with regard to this inheritance ? Previously, in work such as "NAHT" for example, I calculated almost every detail of musical forms following various algorithms, which I developed by following to sérialistic and / or spectral ideas. When I began to write a vocal work for the first time, the moment of a total questioning occured. With the fourth Lied of my september album. cycle I discovered that to adapt itself to a literary structure and to its dramaturgy was contradictory with "to synthesize" a completely sérialistic musical form. All the time during which I wrote my opera MALDOROR I carry out an experiment almost of "liberation", following almost blindly my musical instinct by creating the musical form The serial and / or spectral thought goes with me as a toolbox which I know very well, and which helps me to refine that I want to say ;it is a stimulation, the itching powder of my inspiration and my phantasy ; but that does not fix me any more the course. The literature (Lautréamont) and more particularly the poetry (Winkler, Rilke) seem to feed your creativity : could you say to us what you draw it? It is not only Ron Winkler I know since a residence in common in 2004, or Rainer Maria Rilke who compose my poetical Pantheon; so recently the Russian futurist Velimir Chlebnikov and for the future also the Argentine poet Roberto Juarroz take place there. All these texts have in common they touched me as far as I felt them expanding of a slope for a musical expression by which I was inspired to follow the thread.Music occurs immediately in my brain if by chance I discover a poem which I can imagine sung or declaimed. The National Domain of Chambord welcomes you for a residence in 2013, period during which you will write a new work for the Ensemble Alternance: could you speak to us about this musical project ? I would like to devote time to restate two works. In 2010 I wrote a first version of « trawl » for Alternance, which was created in Bremen. Just following to the premiere, I strongly felt the necessity to develop and extend this very dense work. Besides, I worked in 2011 on a poem of the succession of Rainer Maria Rilke for the writing of a lied for baritone and piano. This poem is part of a set of four poetic sketches of Rilke which I want to include as a cycle of lieder for baritone and piano. I write it for Otto Katzameier, an very talentuous singer who held the part of baritone in my opera " MALDOROR ". I completely fell in love with his voice and I have already written another work for him and orchestra. Maybe we can consider this way of « to retouch », of to cross again and again the interpreters, to be inspired by them (as Otto Katzameier or also Marisol Montalvo and of course Alternance !) belongs also to my mania of « retouching » ?… Interview Philippe Maintz by Jean Luc Menet, Paris 12/09/2012. Raphaël Cendo excess energy fulgurance beyond the limits curiosity Studies piano then composition at the Ecole Normale de Musique-Paris. 2003 : integrates the class of composition at the Superior Conservatory of Music of Paris in 2003 then the annual musical program of composition and computing in the IRCAM till 2006. Receives the teachings of Allain Gaussin, Brian Ferneyhough, Fausto Romitelli and Philippe Manoury. 2007 R. Cendo is awarded by the Francis and Mica Salabert foundation for win- ning the first price of the international competition of composition of the the Symphony Orchestra of Montreal. Boarder of the French Academy (Villa Medicis) until 2011. 2009 Pierre Cardin Price of the "Académie française des Beaux-Arts". Lives in Berlin. "Rokh", is a new work commisioned to Raphaël Cendo by the Foundation Ernst von Siemens for Ensemble Alternance. « Rokh »was written and created by segments in 2011 and 2012. The complete version was proposed for the first time in February, 2012 in Tonhalle of Düsseldorf and then recorded in studios 4'33 (Ivry sur Seine ) by Franck Rossi. What does mean «Rokh» and could you describe the process ? "Rokh" is the Persian name given to a gigantic and fabulous bird about whom speaks « Les Mille et une Nuits » and is likened to the Greek Phoenix. Guard of the tree of the Knowledge in the Garden of Hesperides, the immortal bird is capable of being reborn having wasted away under his own heat. It symbolizes the cycles of death and resurrection.The work is divided in three movements.The first one is a writing extremely pushed by the saturation, a kind of complete of road of the saturated phenomena. The extreme gestural writing and the required energy gives to this movement an unpredictable and uncontrolled character In contrast, the second movement is based on a very clear density with very bright tones ending by a solo of bass flute supported by the Ensemble.

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