Par CONNESSON GUILLAUME. Arrangeur : Vlarko Nushev Ce Divertimento est un arrangement de mon Sextuor réalisé par Vlatko Nushev. Divertimento était d'ailleurs le titre que j'avais envisagé au départ, car l' œuvre fut écrite pour un concert de nouvel an au Châtelet à Paris en 1998, à la demande d'Éric Le Sage et Paul Meyer. C'est donc une partition placée sous le signe de la joie et de la bonne humeur avec une suspension mélancolique dans le mouvement lent. Le premier mouvement Dynamique est une série de variations qui multiplie les processus rythmiques hérités de la musique répétitive américaine. Le Nocturne central est une confidence douce et douloureuse chantée par la clarinette sur les tapis harmoniques des cordes et du piano. Enfin le Festif libère une joie fébrile autour de motifs parmi lesquels on trouve un clin d' œil à la Truite de Schubert. La partition s'achève sur un pied de nez cadentiel. Guillaume CONNESSON / Date parution : 2022-11-29/ Répertoire / Ensemble de Chambre

The Dreamers - A Gothic Tale for Horn Trio by Niels Marthinsen. Programme note: The Dreamers for horn violin and piano is the sixth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales. My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musical material in a criss-cross of contextual references reminiscent of Blixen's narrative complexity: Themes and motivs from one pieceappear in others in new and surprising shapes and combinations. Karen Blixen's THE DREAMERS has the most complex narrative structure of all her seven gothic tales. The story is made up of three tales with different narrators but with the same principal caracter in various disguises all three imbedded within a fourth tale that serves as a framework for the entire short story.The main story line unravels the life of a famous opera diva who looses her voice during a terrible fire. Before this her life was perpetual bliss and the tragedy drives her into assuming different personality guises in order to escape reality.Toward the end she is confronted with her true identity and dies.THE DREAMERS isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and settings - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression...except one might say that the three players try their best to either catch or escape each other and that when they finally meet it happens abruptly even tragically - and only barely provides a little consolation.

Michael Nyman's Musique A Grande Vitesse (MGV) translates as ‘high speed music’ and was commissioned by the Festival de Lille for the inauguration of the TGV North EuropeanParis-Lille line in 1993. This piece of sheet music runs continuously but was conceived as an abstract imaginary journey; or rather five inter-connected journeys each ending with a slow mainly stepwise melody which isonly heard in its 'genuine' form when the piece reaches its destination. Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic melodic harmonic motivic textural -constantly change their identity as they pass through different musical 'environments'. The opening bars establish both a recurrent rhythmic principle - 9 11 or 13-beat rhythmic cycles heard against a regular 8 - and aharmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally MGV begins in C and ends in E). A later scalic syncopated figure (again first heard over C E and A)begins the second section featuring Brass in D flat. The topography of MGV should be experienced without reference to planning description or timetables. Its tempo changes and unpredictable slowings downbear no logical relation to the high speed of the Paris-Lille journey while the temptation to treat MGV as a concerto grosso with the Michael Nyman band as the ripeno was resisted: more suitably theband (amplified in live performance) lays down the tracks on which MGV runs.