{"id":239,"date":"2011-02-28T12:23:49","date_gmt":"2011-02-28T10:23:49","guid":{"rendered":"https:\/\/martinmatalon.com\/?p=239"},"modified":"2011-03-01T15:02:30","modified_gmt":"2011-03-01T13:02:30","slug":"dos-formas-del-tiempo","status":"publish","type":"post","link":"https:\/\/martinmatalon.com\/?p=239","title":{"rendered":"Dos formas del tiempo"},"content":{"rendered":"

(2000)<\/span><\/em><\/h1>\n

Pour piano<\/em>
\n Commande du Festival \u00ab\u00a0Piano aux Jacobins\u00a0\u00bb.<\/em><\/p>\n

Note (version fran\u00e7aise)<\/h2>\n

Comme son intitul\u00e9 peut le laisse supposer, Dos formas del tiempo <\/strong><\/em>oppose deux conceptions du temps musical diam\u00e9tralement oppos\u00e9es.<\/p>\n

La premi\u00e8re de ces deux formes est une machine rythmique tr\u00e9pidante qui, une fois lanc\u00e9e, continue sa course effr\u00e9n\u00e9e qu’alimente une succession de polyrythmes b\u00e2tis sur une pulsation unique. Sans rien perdre de sa v\u00e9locit\u00e9, elle finit par se dissoudre dans un\u00a0pianissimo<\/em> d’o\u00f9 jaillit la seconde forme.<\/p>\n

Le temps \u00ab\u00a0suspendu\u00a0\u00bb de celle-c\u00ec r\u00e9pond au temps \u00ab\u00a0puls\u00e9\u00a0\u00bb et rapide du premier mouvement. Il ne s’agit pas ici de lenteur. Les diverses \u00ab\u00a0cr\u00e9atures\u00a0\u00bb musicales – \u00e9clatements, trilles, scintillements, guirlandes, spirales, p\u00e9piements, notes r\u00e9p\u00e9t\u00e9es ou r\u00e9sonnances… – qui peuplent l’espace ouvert du second volet, sont souvent d’un grand dynamisme, y compris dans lepianissimo<\/em>.<\/p>\n

Dos Formas del tiempo<\/strong><\/em>, qui emprunte son titre \u00e0 J.L. Borges, est une commande du festival\u00a0Piano aux Jacobins<\/em>. L’\u0153uvre fut cr\u00e9\u00e9e dans le cadre de ce m\u00eame festival par Sergio Tiempo, le 20 septembre 2000.<\/p>\n

\u00a9 Pascal Ianco<\/p>\n

Note (english version)<\/h2>\n

Dedicated to Lorenzo Matalon<\/p>\n

As its title suggests,\u00a0Dos formas del tiempo<\/em><\/strong> contrasts two diametrically opposed conceptions of musical time. The first of the two forms is a throbbing rhythmic machine, which, once started, continues its frantic race, sustained by a succession of polyrhythms built on a single pulsation. Without losing any of its velocity, it ends up dissolving in a pianissimo from which emerges the second form.<\/p>\n

Its \u2018suspended\u2019 time responds to the \u2018pulsed\u2019 time of the first movement, without there being a question of slowness here. The various musical \u2018creatures\u2019\u2014explosions, trills, sparkling, garlands, spirals, chirping, repeated notes or resonances…\u2014that populate the open space of the second set are often of considerable dynamism, even in the pianissimo.<\/p>\n

Dos Formas del tiempo<\/em><\/strong> was commissioned by the \u2018Piano aux Jacobins\u2019 festival in Toulouse and given its first performance there by Sergio Tiempo, on 20 September 2000.<\/p>\n

Pascal Ianco<\/em><\/p>\n

<\/em><\/p>\n

Translated by John Tyler Tuttle<\/em><\/p>\n

Historique<\/h2>\n

–\u00a022 Septembre 2000 (cr\u00e9ation mondiale)
\nPiano : Sergio Tiempo
\nFestival Piano aux Jacobins – Toulouse \/ France<\/p>\n

–\u00a015 Mars 2001
\nPiano : Sergio tiempo
\nFrick Museum
\nPittsburgh \/ USA<\/p>\n

– Octobre 2001
\nPiano : Sergio Tiempo
\nTokyo \/ Japon<\/p>\n

–\u00a025 F\u00e9vrier 2002
\nPiano : Jean-Marie Cottet
\nEspace Culturel Fran\u00e7ois Mitterrand, Beauvais \/ France<\/p>\n

–\u00a030 Octobre 2002
\nPiano : Dimitri Vassilakis
\nMercat dels Flors \/ Auditori Ovidi Montllor
\nBarcelona \/ Espagne<\/p>\n

–\u00a015 Avril 2003
\nPiano : Dimitri Vassilakis
\nCentro cultural de la recoleta
\nBuenos Aires \/ Argentine<\/p>\n

–\u00a023 Septembre 2003
\nPiano : Dimitri Vassilakis
\nIRCAM, Paris \/ France<\/p>\n

–\u00a019 Octobre 2003
\nPiano : Dimitri Vassilakis
\nCycle \u201cCr\u00e9ations et permanaces\u201d
\nMus\u00e9e du Petit Palais, Avignon \/ France<\/p>\n

–\u00a022 Janvier 2004
\nConcert monographique
\nPiano : Dimitri Vassilakis
\nArsenal, Metz \/ France<\/p>\n

–\u00a015 Juillet 2004
\nPiano : Chuan Quin
\nCentre Acanthes
\nArsenal de Metz \/ France<\/p>\n

– 2 Ao\u00fbt 2004
\nPiano : Chuan Quin
\nGrand Theater Xuzhou \/ Chine<\/p>\n

– 4 Septembre 2004
\nPiano : Chuan Quin
\nFestival Serres d’Auteuil,
\nParis \/ France<\/p>\n

– 12 Mars 2005
\nConcert monographique
\nMus\u00e9e du Louvre, Paris \/ France<\/p>\n

– 15 Mars 2005
\nPiano : Maki Nakandakari
\nSuimda Symphony Hall
\nFrench contemporary Music Festival
\nTokyo \/ Japon<\/p>\n

– 6 Juin 2005
\nConcert monographique
\nLa Maroquinerie, Paris \/ France<\/p>\n

– 10 D\u00e9cembre\u00a02005
\nPiano : \u00a0Hideki Nagano
\nHokaido \/ Japon<\/p>\n

– 18 D\u00e9cembre 2005
\nPiano : Hideki Nagano
\nSalle Sai no Kuni \u00a0– Saitama \/ Japon<\/p>\n

– 15 Janvier 2006
\nConcert monographique
\nTransmission Radio France Musiques<\/p>\n

– 25 Juin 2006
\nPiano : Philippe Bianconi
\nFestival Serres d’Auteuil<\/p>\n

– 16 Juillet 2006
\nPiano : Philippe Bianconi
\nFrance Musiques<\/p>\n

– 28 Octobre 2006
\nPiano : Dimitri Vassilakis
\nNew York \/ USA<\/p>\n

– 30 Novembre 2006
\nPiano : Alain Piboule
\nConcours avant Sc\u00e8ne, CNSM<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

(2000) Pour piano Commande du Festival \u00ab\u00a0Piano aux Jacobins\u00a0\u00bb. Note (version fran\u00e7aise) Comme son intitul\u00e9 peut le laisse supposer, Dos formas del tiempo oppose deux conceptions du temps musical diam\u00e9tralement oppos\u00e9es. La premi\u00e8re de ces deux formes est une machine rythmique tr\u00e9pidante qui, une fois lanc\u00e9e, continue sa course effr\u00e9n\u00e9e qu’alimente une succession de polyrythmes […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[4],"tags":[],"class_list":["post-239","post","type-post","status-publish","format-standard","hentry","category-musique-instrumentale"],"_links":{"self":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/239","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=239"}],"version-history":[{"count":9,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/239\/revisions"}],"predecessor-version":[{"id":426,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/239\/revisions\/426"}],"wp:attachment":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=239"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=239"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=239"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}