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Iannis Xenakis concert n°89 Maison Diocésaine Saint-Sixte Samedi 16 juillet 2011 11h00 Iannis Xenakis Roger Woodward / piano Ermis Theodorakis / piano Rohan de Saram / violoncelle Thierry Miroglio / percussions Jean-Pierre Arnaud / hautbois www.flaneriesreims.com Pour le bon déroulement des concerts et par respect pour les artistes, nous vous prions de bien vouloir éteindre vos téléphones portables et vous rappelons qu’il est interdit de filmer, d’enregistrer et de prendre des photos durant le concert. Nous vous remercions de votre compréhension. programme IANNIS XENAkIS (1922-2001) Paille in the wind (1991) IANNIS XENAkIS Six chansons (1950-51) Ça sent le musc... J’avais un amour autrefois... Une perdrix descendait de la montagne Trois moines crétois... Aujourd’hui le ciel est noir... Sousta, danse IANNIS XENAkIS Herma (1961) IANNIS XENAkIS Evryali (1973) IANNIS XENAkIS Mists (1980) IANNIS XENAkIS Dmaathen (1976) IANNIS XENAkIS à R. (hommage à Ravel) (1987) En collaboration, pour le prêt d’instruments, avec l’ARIAM Ile-de-France Région Ile-de-France – Ministère de la Culture À propos du compositeur iannis Xenakis (1922-2001) Compositeur, architecte, ingénieur civil, Iannis Xenakis est né le 29 mai 1922 à Braïla (Roumanie). Résistant de la Seconde Guerre Mondiale, puis condamné à mort, il est réfugié politique en France depuis 1947 et naturalisé français depuis 1965. Il a étudié à l’Institut Polytechnique d’Athènes avant d’entreprendre des études de composition musicale avec Hermann Scherchen, puis au Conservatoire National Supérieur de Musique de Paris avec Olivier Messiaen. De 1947 à 1959, il est collaborateur de Le Corbusier comme ingénieur et architecte. Inventeur des concepts de masses musicales, de musique stochastique, de musique symbolique ; ayant introduit le calcul des probabilités et la théorie des ensembles dans la composition des musiques instrumentales, il fut l’un des premiers à se servir de l’ordinateur pour le calcul de la forme musicale. Pionnier également dans le domaine de l’électroacoustique, auteur de près de 150 œuvres pour toutes formations, il apparaît aujourd’hui comme l’une des figures les plus radicales de l’avant-garde, ayant inventé la plupart des techniques compositionnelles caractéristiques de la musique d’après 1945, mais aussi l’un des rares créateurs dont la vitalité ne s’est jamais démentie, et qui a, de plus, conquis un large public. À propos du concert Le piano est à l’honneur dans ce programme qui réunit toutes les œuvres de Xenakis pour piano solo, des premières pièces Six chansons (1950-51) au court mais très virtuose Hommage à Ravel (1987). Un parcours qui résume au mieux l’évolution - et plus encore la continuité - de Xenakis. D’un bout à l’autre, s’impose un piano résolument sonore, impressionnant de virtuosité, d’énergie et de puissance, avec une écriture extrême qui tire des horizons harmoniques âpres et insensés. - Paille in the wind (1991), pour piano et violoncelle Paille in the wind (1992) réunit le pianiste Roger Woodward et le violoncelliste Rohan de Saram, tous deux dédicataires d’œuvres de Xenakis, pour cette pièce majeure aux tonalités sombres, déjà hantée par l’idée de la mort : « C’est une tragédie grecque très noire, une œuvre épique où le piano et le violoncelle se répondent, l’un après l’autre, dans une suite de résonances d’accords puissants » confirme le pianiste australien. - Six chansons (1950-51) : « Ça sent le musc... », « J’avais un amour autrefois... », « Une perdrix descendait de la montagne... », « Trois moines crétois... », « Aujourd’hui le ciel est noir... », « Sousta, danse ». Ces toutes premières pièces ont été composées pendant que Xenakis étudiait à Paris avec Messiaen et Milhaud. Elles révèlent les premières influences de Xenakis, notamment celle de Debussy. - Herma (1961), chef-d’œuvre pour instrument seul, analysé dans le premier livre de Xenakis, Musiques formelles, a été écrite pour le pianiste japonais Yuji Takahashi. Cette pièce redoutable (et réputée à peu près injouable !) repose sur le défilement de ce que Xenakis appelle des « nuages de sons », qui varient sens cesse en densité et en couleurs. Elle exige une virtuosité extrême de l’interprète avec jusqu’à 20 notes par seconde dans certains passages. - Evryali (1973), deuxième grande pièce pianistique de Xenakis, Evryali est une œuvre très dynamique, porteuse d’une énergie formidable où les apparitions irrégulières de certaines hauteurs - dues au graphisme des arborescences - ont l’euphorie des musiques de gamelan balinais. À propos du concert - Mists (1981) dont le titre signifie « brumes, brouillards », se présente comme un long solo ébouriffé où alternent de gros nuages sonores, des nébuleuses pointillistes volubiles et des superpositions contrapuntiques affolées. Dédiée à Roger Woodward, cette magnifique œuvre sera ici interprétée par le pianiste grec Ermis Theodorakis. - Dmaathen (1976) pour hautbois et percussion Il y a très peu de connexion entre les timbres du hautbois et des percussions. Par conséquent, Xenakis ne cherche pas à intégrer les sons des deux instruments. Il crée un matériau pour que ceux-ci s’expriment de manière indépendante bien que coordonnée. Le hautbois alterne entre passages soutenus et courtes rafales de matière mélodique rapide. Il explore de nouveaux modes de jeux, notamment les multiphoniques. Le percussionniste se déplace entre la batterie, le vibraphone et le marimba. Les claviers se joignent souvent au hautbois pour créer des « arborescences » denses, textures qui prolifèrent vers l’extérieur à partir d’une note centrale ou d’une ligne, emblématiques des œuvres de Xenakis de cette période. - à R (hommage à Ravel) (1987), a été commandée par Radio France pour le cinquantième anniversaire de la mort de Ravel. Sa concision et sa virtuosité en font un formidable hommage au compositeur français biographies roger Woodward Figure majeure de la scène musicale classique et contemporaine, le pianiste australien Roger Woodward se distingue par son extrême virtuosité dans tous les répertoires, de Bach à Xenakis. Passionné par la musique de son temps, il a travaillé avec Olivier Messiaen, Pierre Boulez, John Cage, Luciano Berio, Iannis Xenakis, Arvo Pärt… et avec des compositeurs allemands tels que Rolf Gehlhaar et karlheinz Stockhausen. Autant de collaborations prestigieuses enregistrées par les maisons de disques EMI, Decca et RCA et de nombreuses chaînes de télévision qui lui confèrent rapidement une notoriété internationale. Soliste dans des orchestres tels que le Leipzig Gewandhaus, les plus grands orchestres londoniens, les philharmoniques de Los Angeles et de New York ou le Cleveland orchestra, il joue sous la direction des chefs les plus renommés tels que Claudio Abbado, Zubin Mehta, Lorin Maazel, kurt Masur et bien d’autres encore. Son enregistrement du Clavier bien tempéré de Bach a été choisi par Gramophone pour le numéro de février 2010 et est considéré par les critiques comme le nouvel album de référence après Gould et Barenboim. Roger Woodward a aussi reçu le prestigieux prix du Deustchen Schallplattenkritik pour son album consacré aux Partitas en Si mineur et en Mi mineur de Bach (Celestial Harmonies) et ses enregistrements récents des Nocturnes de Chopin, du Concerto en Fa Mineur et des Préludes de Debussy ont été encensés par les critiques du monde entier. En tant que chambriste, il a travaillé avec Ivry Gitlis, Philippe Hirschhorn, le Tokyo String Quartet et Arditti String Quartet et collabore régulièrement avec l’Alexander String Quartet. Résidant à San Francisco, il a reçu l’Ordre du Mérite polonais, l’Ordre de l’Empire Britannique, il est Chevalier de l’Ordre français des Arts et des Lettres et Compagnon de L’Ordre d’Australie. ermis theodorakis Né à Athènes en 1979, le pianiste et compositeur Ermis Theodorakis est considéré comme l’un des plus brillants interprètes de l’œuvre de Iannis Xenakis. Fort d’une solide formation classique, il obtient le prix spécial « Iannis Xenakis » lors de ses études à l’Athens Music Society Conservatory. Il étudie ensuite la composition avec Yannis Ioannidis et la musicologie à l’Université d’Athènes avant de se perfectionner au Conservatorium van Amsterdam puis à l’Académie Musicale de Leipzig. Invité en tant que soliste aux Etats-Unis et dans toute l’Europe, il se produit également en soliste avec des orchestres et ensembles tels que l’Athens State Orchestra, l’Orchestra of Colours, le « Kamerata » Orchestra, le AGON Orchestra of Prague, le Greek Contemporary Music Ensemble, le United Instruments of Lucilin (au Luxembourg). Il défend avec conviction le répertoire contemporain et a créé nombre d’œuvres de compositeurs contemporains, tout en interprétant régulièrement certaines pièces du répertoire classique. Il a enregistré 6 albums solos de musique contemporaine pour piano (dont la plupart des musiques pour piano de la New Viennese School, les œuvres pour piano de Yannis Ioannidis et les œuvres complètes pour piano seul de Iannis Xenakis) et publié « Synaphaï », le concerto pour piano de Xenakis avec l’Orchestra of Colours. En tant que compositeur, il a écrit de la musique de chambre et des solos. Ses œuvres ont été jouées en Allemagne, en Grèce, aux Pays-Bas, en Belgique et au Chili. Ermis Theodorakis a reçu le prix de la Greek Union of Music and Drama Critics, pour son album des œuvres complètes pour piano seul de Iannis Xenakis et un prix UNESCO, pour ses services rendus à la musique grecque contemporaine. rohan de saram Virtuose international du violoncelle, Rohan de Saram travaille depuis 2005 autour de projets réunissant la musique de diverses périodes, d’Orient et d’Occident, classique et contemporaine, musique écrite et improvisation, avec des musiciens qui viennent d’horizons multiples. C’est comme artiste classique qu’il s’est d’abord fait un nom. Etudiant le violoncelle depuis l’âge de onze ans en Italie, il fut récompensé à l’âge de dix-sept ans par le prix Suggia qui lui permit d’étudier avec John Barbirolli et Pablo Casals.
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