Souliers pointus robe à carreaux coeurs vermoulus incognito Au guinch' le soir ça press' un peu il y'a des r'gards dans tous les yeux Ça mont' d'en bas comm' un' rumeur ça vous lâch' pas c'est chouett' d'ailleurs ça vous chahut' dans les bas fonds pendant qu' discut' l'accordéon
Parlé: Ah! Prud'homme quel souffle! Prud'homme?... C'est Jean CARDON un champion!
Valse ou java saxo copain tango chinois j' marche au béguin Qu'est-c' que ça fout les trucs ricains be-bop " j' t'en fous " j' me fais du bien. Violon pleureur violon coquin y'a du bonheur dans tous les coins Sur les balcons ça penche un peu ainsi font font les amoureux
Parlé: Vous venez souvent danser ici, Mademoiselle? C'est bien, hein? - Oh! oui!
Le parigot, quand ça fox-trott', guinche en…
Guinche:
subst.fém. Danse.
subst.masc. ou fém. Bal public; lieu où il se déroule.
* * *
en 1956, Juliette Gréco chante aussi Georges Brassens
Peter
Tscherkassky appartient avec Martin Arnold, Gustav Deutsch et Dietmar
Brehm à cette génération de cinéastes expérimentaux autrichiens qui a
succédé à celle de Peter Kubelka, Kurt Kren, Ernst Schmidt Jr. et
Valie Export.
Actif depuis une vingtaine d’années déjà dans le domaine de la
recherche (post)structurelle pure et dure, il a dernièrement retenu
l’attention par quelques films exceptionnels dont cette petite
merveille, "Outer Space" (1999),
réalisée en cinémascope et selon une technique de montage très
originale, reformulant par les moyens propres à l’expérimental
l’argument d’un film fantastique des années 80. source
The austrian avant-garde film-maker used incredible editing techniques
to create a kind of epileptic stream with footage from the horror movie "The entity" "...The immersive experience of the film is marked by a collapse
between the world of the frame, and the mechanics of filming
and projection. It is as if Tscherkassky is suggesting that
there is a potential violence restrained by every film frame.
An explosion of off-screen energy that can shatter the veneer
of the film form. The expression of this shattering is a deeply
sensual experience which implicates and surrounds the viewer.
The constant layering of images also creates a space in which
the viewer is able to insert themselves, no longer withheld
by the pretense that this is a separate world presented on
screen. Rather, it is something immediate and tangible which
can be destroyed in the act of viewing, and then created again
in an abstract rhythm of torn sound and image fragments. This
is not simply an act of subversion, but something like the
fractured cut and paste ethics of avant-garde composers; a
mode of using the violent rhythms of delay, rupture, fragmentation,
looping and degraded image and sound. It is a style more aligned
with the abstract cut and paste density of contemporary musicians
such as Kid 606 and Matmos than the careful superficiality
of most cinema..." Rhys Graham (australian filmmaker & writer) - 2001
This "Instructions for a light & sound machine" 17' long movie, with a soundtrack by the composer Dirk Schaefer, sees Tscherkassky gleaning footage from Sergio Leone’s genre classic "The good, the Bad and the Ugly" ,
bending and augmenting it into his own revisionist Western – a Greek
tragedy in which the hero meets the conditions of his own possibility.
Lithophone : instrument de percussion de type idiophone
formé d'un ensemble de pierres sonores, soit posé à terre soit suspendu
par divers moyens, qui est frappé au moyen de baguettes en bois ou
d'autres pierres.
an idiophone-type percussion instrument made up of a set of sound stones, either placed on the ground or suspended by various means, which is struck by means of wooden sticks or other stones.
Mariachi is the amazing solo guitar project of Nina Garcia. Feedback, crackling, short circuits, impacts, harmonics, grindings noises, overflowings, notes and an almost perfect chord: an inventive new approach of noise improvisation with a guitar, a pedal and an amplifier. Her first LP was released in October 2018 on No Lagos Musique.
Frederic Rzewski (born April 13, 1938 in Westfield, Massachusetts and unfortunately died in june 2021) is an American composer and virtuoso pianist. He began playing piano at age 5. He
attended Phillips Academy, Harvard and Princeton, where his teachers
included Randall Thompson, Roger Sessions, Walter Piston and Milton
Babbitt. In 1960, he went to Italy, a trip which was formative in his
future musical development. In addition to studying with Luigi
Dallapiccola, he began a career as a performer of new piano music, often
with an improvisatory element. A few years later he was a co-founder of
Musica Elettronica Viva with Alvin Curran and Richard Teitelbaum.
Musica Elettronica Viva conceived music as a collective, collaborative
process, with improvisation and live electronic instruments prominently
featured. In 1971 he returned to New York.
In 1977 Rzewski became Professor of Composition at the Conservatoire
Royal de Musique in Liège, Belgium.
Occasionally he teaches for short periods at schools and universities
throughout the U.S. and Europe.
Frederic Rzewski, pianiste et compositeur, est né en 1938 à Westfield, dans le Massachussetts. Il entreprend des études musicales avec Charles Mackey, étudie à Harvard et à Princeton sous la conduite notamment de Walter Piston, Randall Thompson, Roger Sessions et Milton Babbit. En 1960 il séjourne à Florence, tout en entamant une carrière de pianiste spécialisé dans les musiques nouvelles. Il prendra part aux premières performances de K. Stockhausen. À Rome, il fonde en 1966, avec Alvin Curran et Richard Teitelbaum, Musica Elettronica Viva, un collectif avant-gardiste qui mêle improvisation et musique électronique, qui rassemble des musiciens classiques et avant-gardistes.
L'œuvre de Rzewski est marquée depuis le début par un engagement politique inconditionnel. Marxiste et antimilitariste déclaré, le compositeur prend la défense de tous ceux qui subissent aliénation et injustice. Ainsi son œuvre la plus connue, puissamment exécutée par ses soins, ”The People United Will Never Be Defeated !” est constituée, sur le modèle des "Variations Diabelli" de Beethoven, de 36 variations sur la chanson révolutionnaire latino-américaine, "El pueblo unido jamás será vencido". La plupart des œuvres des années 1980 explorent des nouvelles voies dans l'utilisation de la technique dodécaphonique. Ses œuvres les plus récentes font appel à une écriture plus libre et spontanée. "The Triumph of Death" (1987-1988), la plus monumentale à ce jour, est un oratorio de deux heures sur des textes adaptés de la pièce de Peter Weiss, Die Ermittlung ; dans les années 1990, il a composé "The Road", une formidable pièce de cinq heures pour piano seul. source
”Je ne pense pas avoir jamais développé ce que l’on pourrait appeler ”un style”. Chaque musique que je crée semble très différente se ce qui l’a précédée. On ne peut plus se reposer sur une tradition historique” - Rzewski in the 70sdans la revue Vertigo N°36 Amérique - 2009
"The People United Will Never Be Defeated", a serie of 36 variations on the iconic song "El pueblo unido jamás será vencido" written by Sergio Ortega et Quilapayún.
&
Frederic Rzewski plays Frederic Rzewski on the 8th "Calefax PAN Festival" , December 30, 2011 in Amsterdam: 3 pieces for Piano solo:
1. Salouette - for Salomé Lou Ginsburgh
/ 2. The Revelator - for Blind Willie Johnson
/ 3. That's That! - for Mikhail Bulgakov
Quelques nouveautés, en vrac, à découvrir et écouter.
A few news to explore.
The world premiere performance of "Trio for violin, piano and percussion" composed by Charles Shere performed by the
Abel-Steinberg-Winant Trio. Commissioned by Other Minds for the OM
Festival 3 in 1996, the recording was thought to be lost until very
recently.
******
"Le ménisque original" est le
nouvel album solo de Clément Vercelletto (Orgue Agnès, Kaumwald) sous le
pseudonyme de Sarah Terral.
L'album a été composé et joué avec un synthétiseur modulaire très réduit avec la volonté de rester instinctif et minimal. A paraitre le 27 août 2021 chez Three-Four Records.
et aussi "Shampanskoye" avec Alexei Borisov, Jérôme Lorichon, Olga Nosova, Quentin Rollet
******
"Middle ground" is a Robert Honstein's longform explorations mining the endless possibilities of the violin, performed by violinist Kate Stenberg, focusing on each instrument’s
capabilities to find complexity. Each movement highlights a different aspect of the violin’s wide range.
This Joris Ivens's movie "Philips-Radio" a.k.a. "Industrial symphony" was the first dutch sound film, commissioned by the Philips Eindhoven company in 1931.
This same year, Dziga Vertov directed "Enthusiasm" wich expresses hope that industry lights the Soviet path to success.
The
subject of the film is the production of radios and speakers: the
camera registers the rhythm of the machines and the interaction with the
proceedings of the factory workers and shows the operations inside the
Philips Radio
plant: In a mêlée of activity, glassblowers make delicate glass bulbs,
machinery assists the bulb manufacture, a virtuoso glassblower begins a
more complex tube used in radio broadcasting, workers perform
their various specific assembly-line tasks. Cases are manufactured and
machined, wire harnesses are assembled, loudspeakers are produced. As
radios near completion, they are run through a series of tests.
Engineers and draughtsmen define future developments.
Music and sound effects for that epic poem which finish with a spiralic dance of loudspeakers.
He played trumpet and sang with the Mike Westbrook Band in the early
1960s, then in dance and rock bands in Europe for the later part of the
decade.
Phil is best known for his completely free-form work,
which involves "extended techniques" that can be as unsettling as they
can be mesmerising. His vocals often include the sounds of retching,
burping, screaming, and gasping, as well as childlike muttering,
whining, crying and humming; he also has an ability to distort his vocal cords to produce two notes at once.
Phil Minton at Cafe Oto, February 2012 Drawing by Geoffrey Winston. Copyright 2012. All Rights Reserved
"Phil Minton has been exploring the liminality of the human voice for the
best part of four decades, with a series of solo records (the
“doughnut” albums) beginning in 1982... Utilizing a
number of unorthodox techniques — utterances, gasps, belches, whistles,
etc. — Minton has forged an alternative lexicon, one that seemingly
forgoes the constraints of tradition and language. The result is a
perverse, evocative set, the kind of performance that forces a reaction
and demands attention be paid to it — music that has the power to cause
unrest and revulsion in the listener."Soe Jherwood for Tiny Mix Tapes
"Laboratoire soluble" est une exposition réalisée par l'artiste Delphine Mogarra dans le cadre d'une résidence en août 2020 avec un groupe d'adolescents entre 11 et 15 ans à la MPT de Saint-Mauront (Marseille). Elle est présentée jusqu'au 26 juin 2021 à la Galerie art-cade* à Marseille.
"Laboratoire soluble" is an exhibition produced by the artist Delphine Mogarra as part of a residency in August 2020 with a group of teenagers. The exhibition is showed until June 26, 2021 at the Galerie art-cade* in Marseille.
