{"id":291,"date":"2011-02-28T14:57:15","date_gmt":"2011-02-28T12:57:15","guid":{"rendered":"https:\/\/martinmatalon.com\/?p=291"},"modified":"2011-03-01T15:06:37","modified_gmt":"2011-03-01T13:06:37","slug":"del-matiz-al-color","status":"publish","type":"post","link":"https:\/\/martinmatalon.com\/?p=291","title":{"rendered":"… del matiz al color…"},"content":{"rendered":"

(1999)
\nPour 8 violoncelless .
\nCommande de l\u2019Octuor de Violoncelles de Beauvais<\/em><\/p>\n

Note<\/h2>\n

L’Octuor de violoncelles, combinaison instrumentale relativement nouvelle dans le r\u00e9pertoire, permet une grande latitude d’\u00e9criture. Le violoncelle a une voix voluptueuse, un registre \u00e9tendu et beaucoup d’agilit\u00e9. La composition de son spectre, ses diff\u00e9rents modes de jeux, ses multiples articulations autorisent un large \u00e9ventail de couleurs. Un ensemble compos\u00e9 de huit instruments ayant de telles qualit\u00e9s m’a tr\u00e8s vite sugg\u00e9r\u00e9 le principe de cette pi\u00e8ce : le mat\u00e9riau musical – structures rythmiques, textures, lignes – se transforment en formes plastiques. C’est dans le devenir et la composition de ces formes et dans la dialectique cr\u00e9\u00e9e entre elles que s’ourdit la trame de l’\u0153uvre. Le fond de l\u2019\u0153uvre est sa forme.<\/p>\n

…Del Matiz al color… a \u00e9t\u00e9 cr\u00e9\u00e9e en mai 1999, lors des Septi\u00e8mes Rencontres de violoncelle de Beauvais par l\u2019Octuor de violoncelles de Beauvais.<\/p>\n

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

\u00ab\u00a0…del matiz al color…\u201d <\/em><\/strong>(\u2018\u2026from nuance to colour\u2026\u2019) was commissioned by the Beauvais Cello Octet, to whom the work is dedicated.<\/p>\n

The cello octet, an instrumental combination that appeared recently on the musical landscape, conceals considerable sound possibilities. The cello is endowed with a voluptuous sound and a wide range. Extremely agile, it features a broad palette of colours, thanks to its different playing methods, multiple articulations and bowing positions. An ensemble of eight instruments having such qualities quickly suggested the basic idea of this piece to me: the transformation of the musical material\u2014rhythmic structures, textures, volumes, lines and colours\u2014into plastic forms. It is in the evolution and composition of these forms, and in the dialectic created between them, that the work\u2019s framework was woven.<\/p>\n

Pascal Ianco<\/p>\n

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

Contact<\/h2>\n

Martin Matalon martin.matalon@free.fr<\/p>\n

 <\/p>\n

Historique<\/h2>\n

Cr\u00e9ation mondiale
\n3 Mai 1999
\nL\u2019 Octuor de Violoncelles de Beauvais
\nLes Septi\u00e8mes Rencontres de Violoncelles de Beauvais \/ France<\/p>\n

1er Avril 2000
\nOctuor de Violoncelles de Beauvais
\nBar le Duc – Soissons \/ France<\/p>\n

24 Juin 2000
\nOctuor de Violoncelles de Beauvais
\nFestival : Agora \/ IRCAM \/ France<\/p>\n

1er Avril 2001
\nOctuor de violoncelles de Beauvais
\nBoston Conservatory of music
\nBoston \/ Etats-Unis<\/p>\n

2 Avril 2001
\nOctuor de violoncelles de Beauvais
\nChapelle du bon Pasteur
\nMontr\u00e9al \/ Canada<\/p>\n

6 Avril 2001
\nOctuor de violoncelles de Beauvais
\nHippodrome de Douai \/ France<\/p>\n

9 Mai 2001
\nOctuor de violoncelles de Beauvais
\nLes huiti\u00e8mes rencontres de violoncelles de Beauvais \/ France<\/p>\n

4, 5, 6 et 7 F\u00e9vrier 2002
\nL\u2019Octour de Violoncelles de Beauvais
\nCentre culturel Fran\u00e7ais en Alg\u00e9rie \/ Alg\u00e9rie
\nLe 4 \u00e0 Annaba
\nLes 5 et 6 \u00e0 Alger
\nLe 7 \u00e0 Oran<\/p>\n

25 F\u00e9vrier 2002
\nDans le cadre d’un concert monographique
\nOctuor de violoncelles de Beauvais
\nEspace Culturel Fran\u00e7ois Mitterrand \u00e0 Beauvais \/ France<\/p>\n

24 Juillet 2002
\nOctuor de violoncelles de Beauvais
\nPont L’Abb\u00e9 \/ France<\/p>\n

26 Juillet 2002
\nOctuor de violoncelles de Beauvais
\nSaint Riquier \/ France<\/p>\n

18 D\u00e9cembre 2002
\nOctuor de violoncelles de Beauvais
\nEglise des Billettes – Paris \/ France<\/p>\n

23 Septembre 2003
\nDans le cadre d’un concert monographique
\nOctuor de violoncelles de Beauvais
\nEspace de projection IRCAM Centre Georges Pompidou – Paris \/ France<\/p>\n

24 Avril 2005
\nOctuor de Violoncelles de Beauvais
\nEMC Petit Palais, Avignon \/ France<\/p>\n

3 Mars 2007
\nUccello
\nMc Gill University Montr\u00e9al \/ Canada
\n4 Mars 2007
\nPhilarcellists
\nMontiny sur L’oing \/ France<\/p>\n

4 Mars 2007
\nPour 8 Violoncelles
\nPhilarcellists
\nAuteui, \/Paris \/ France<\/p>\n

16 Mars 2007
\nUccello
\nLincoln Center – New York \/ USA<\/p>\n

18 Mars 2007
\nUccello
\nFlynn Center Burlington VT \/ USA
\n24 Mars 2007
\nPhillarcelits
\nErmont \/ France<\/p>\n

25 Juin 2007
\nPhilarcellists
\nSalle Pleyel, Paris \/ France<\/p>\n","protected":false},"excerpt":{"rendered":"

(1999) Pour 8 violoncelless . Commande de l\u2019Octuor de Violoncelles de Beauvais Note L’Octuor de violoncelles, combinaison instrumentale relativement nouvelle dans le r\u00e9pertoire, permet une grande latitude d’\u00e9criture. Le violoncelle a une voix voluptueuse, un registre \u00e9tendu et beaucoup d’agilit\u00e9. La composition de son spectre, ses diff\u00e9rents modes de jeux, ses multiples articulations autorisent un […]<\/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":[3],"tags":[],"class_list":["post-291","post","type-post","status-publish","format-standard","hentry","category-musique-de-chambre-ensembles"],"_links":{"self":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/291","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=291"}],"version-history":[{"count":4,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/291\/revisions"}],"predecessor-version":[{"id":430,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/291\/revisions\/430"}],"wp:attachment":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}