{"id":302,"date":"2011-02-28T15:10:08","date_gmt":"2011-02-28T13:10:08","guid":{"rendered":"https:\/\/martinmatalon.com\/?p=302"},"modified":"2011-03-01T15:07:32","modified_gmt":"2011-03-01T13:07:32","slug":"formas-de-arena","status":"publish","type":"post","link":"https:\/\/martinmatalon.com\/?p=302","title":{"rendered":"Formas de arena"},"content":{"rendered":"

(2001)
\nPour fl\u00fbte, alto et harpe
\nCommande du Th\u00e9\u00e2tre du Chatelet pour le Trio Nobis.<\/em><\/p>\n

Note<\/h2>\n

Commande du Th\u00e9\u00e2tre du Ch\u00e2telet.<\/p>\n

\u0152uvre \u00e9crite en 2001 pour le Trio Nobis et d\u00e9di\u00e9e \u00e0 son harpiste, Nicolas Tulliez, Formas de arena se compose de quatre mouvements encha\u00een\u00e9s. Le premier, qui s’\u00e9labore autour de la fl\u00fbte alto, est constitu\u00e9 d’une trame d’une grande transparence et d’un caract\u00e8re a\u00e9rien. Le mat\u00e9riau de la fl\u00fbte donne lieu \u00e0 de rapides va-et-vient entre les trois protagonistes. Ceux-ci \u00e9tablissent des liens complexes en tissant une sorte de \u201cmobile\u201d \u00e9th\u00e9r\u00e9 o\u00f9 les instruments se livrent \u00e0 une r\u00e9intrepr\u00e9tation mutuelle et constante. Cette derni\u00e8re va de l’imitation litt\u00e9rale, de l’\u00e9cho, \u00e0 l’allusion la plus libre, au jeu de miroirs d\u00e9formants dont la r\u00e9flexion est brouill\u00e9e par les innombrables changements de couleur.<\/p>\n

Le deuxi\u00e8me mouvement est d’une conception plus simple. Enferm\u00e9 dans sa tessiture basse, l’alto en surchauffe – la partition indique \u00ab\u00a0son satur\u00e9\u00a0\u00bb – y surgit dans un bruit de ferraille, \u00ab\u00a0zingage\u00a0\u00bb obtenu avec les p\u00e9dales de la harpe. Il lance un mouvement en avant fr\u00e9n\u00e9tique auquel participe la fl\u00fbte, qui dessine des lignes comparables \u00e0 celles des fils \u00e9lectriques vues d’un train lanc\u00e9 \u00e0 pleine vitesse. A peine semble t-il faiblir, que le mouvement repart dans le tintamarre m\u00e9tallique de la harpe, qui envoie des appels et scandent sans r\u00e9pit tout la section. Contrairement au mouvement pr\u00e9c\u00e9dent, o\u00f9 l\u2019\u00e9change entre les protagonistes \u00e9tait de rigueur, celui-ci voit les instruments irr\u00e9m\u00e9diablement fix\u00e9s dans un r\u00f4le unique. Le son de l\u2019alto, \u00e9touff\u00e9 par une sourdine en plomb dans le premier mouvement, se d\u00e9voile ici pour dominer la sc\u00e8ne.<\/p>\n

L’energie du second mouvement dissip\u00e9e, l’influx rithmique est capt\u00e9, dans le mouvement suivant, par les trois temps d’une valse de caract\u00e8re ludique o\u00f9 les trois instruments s\u2019enchev\u00eatrent dans des phras\u00e9s impr\u00e9visibles…<\/p>\n

Enfin, de caract\u00e8re plus \u00e9th\u00e9r\u00e9, le dernier mouvement met en valeur la harpe.Celle-ci pose le d\u00e9cor en \u00e9tablissant un balancement doux et lancinant et en construisant des figures \u00e9vanescentes. Les deux autres partenaires corroborent et d\u00e9veloppent ces figures en leur conf\u00e9rant parfois, par des bruitages et des modes de jeux, une couleur et un caract\u00e8re particulier.<\/p>\n

C\u2019est ce dernier mouvement qui a inspir\u00e9 le titre de l\u2019\u0153uvre, Formas de arena, \u00ab\u00a0Formes de sable\u00a0\u00bb.<\/p>\n

\u00a9 Pascal Ianco<\/p>\n

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

Commission of the Th\u00e9\u00e2tre du Ch\u00e2telet, Paris<\/p>\n

<\/em>Written in 2001 for the Nobis Trio and dedicated to their harpist, Nicolas Tulliez, Formas de arena consists of four linked movements. The first, which is elaborated round the alto flute, is made up of an ethereal web of great transparency. The musical material attributed to the flute gives rise to rapid comings-and-goings between the three protagonists, who establish complex ties by weaving a sort of gossamer \u2018mobile\u2019. The instruments give themselves over to constant, mutual reinterpretation, which goes from literal imitation and echo to the freest allusion and the play of a distorting mirror whose reflection is muddled by the innumerable colour changes.<\/p>\n

The conception of the second movement is simpler. The overheated viola\u2014the score is marked \u2018saturated sound\u2019\u2014appears in a clanking noise (a \u2018zinc coating\u2019 obtained with the harp pedals), launching a frenzied forward motion in which the flute participates, drawing lines with broad strokes. As soon as the motion flags a bit, it takes off again in the metallic racket of the harp, which sends out calls and relentlessly articulates the whole movement.<\/p>\n

Once the \u2018kinetic\u2019 energy is dissipated, the rhythmic influx is harnessed in the following movement by the three beats of a playful waltz, where the instruments become entangled in unpredictable phrasings…<\/p>\n

Of a more ethereal nature, the final movement shows the harp off to advantage, establishing a gentle, haunting rocking while forming very free, evanescent figures. The other two partners corroborate and develop these figures, occasionally giving them, through sound effects and playing methods, a particular colour and character.<\/p>\n

It is this last movement that inspired the work\u2019s title.
\n
\nPascal Ianco<\/p>\n

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

 <\/p>\n

Contact<\/h2>\n

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

 <\/p>\n

Historique<\/h2>\n

Cr\u00e9ation Mondiale
\n23 Novembre 2001
\nTrio Nobis
\nTh\u00e9\u00e2tre du Ch\u00e2telet, Paris \/ France<\/p>\n

12 D\u00e9cembre 2001
\nEnsemble alternance
\nSalle Cortot, Paris \/ France<\/p>\n

19 Janvier 2002
\nTrio Nobis
\nChapelle Saint-Louise, L\u2019Ha\u00ff-les-Roses \/ France<\/p>\n

25 F\u00e9vrier 2002
\nTrio Nobis
\nEspace Culturel Fran\u00e7ois Mitterrand, Beauvais \/ France<\/p>\n

26 Mars 2002
\nTrio Nobis
\nUnesco, Paris \/ France<\/p>\n

19 Octobre 2002
\nTrio Nobis
\nSalle Cortot – Paris \/ France<\/p>\n

24 Janvier 2003
\nEnsemble Sillages
\nQuartz – Brest \/ France<\/p>\n

2 Mars 2003
\nEnsemble Alternance
\nBowdoin College – Maine \/ USA<\/p>\n

7 Mars 2003
\nEnsemble Alternance
\nUniversit\u00e9 de Bloomington, Indianapolis \/ USA<\/p>\n

7 Mai 2003
\nSolistes de l’Ensemble Intercontemporain
\nTh\u00e9\u00e2tre National La Coursive, La Rochelle \/ France<\/p>\n

19 Mai 2003
\nTrio Nobis
\nGoethe Institute, Paris \/ France<\/p>\n

23 Septembre 2003
\nTrio Nobis
\nIRCAM, Paris \/ France<\/p>\n

19 octobre 2003
\nTrio Nobis
\nCycle \u00ab\u00a0Cr\u00e9ations et Permanances\u00a0\u00bb
\nMus\u00e9e du Petit Palais, Avignon \/ France<\/p>\n

22 janvier 2004
\nBarcelona 216
\nArsenal de Metz \/ France<\/p>\n

19 F\u00e9vrier 2004
\nEnsemble Alternances
\nBr\u00eame \/ Allemagne<\/p>\n

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

2 Juin 2005
\nEnsemble 2E2M
\nEglise St Julien Le Pauvre, Paris \/ France<\/p>\n

26 Juin 2005
\nEnsemble Intercontemporain
\nCentre Georges Pompidou, Paris \/ France<\/p>\n

19 Ao\u00fbt 2005
\nTrio Nobis
\nFestival de Gargilesse \/ France<\/p>\n

1er D\u00e9cembre 2005
\nTrio EIC
\nCDMC, Paris \/ France<\/p>\n

3, 4 et 5 Ao\u00fbt 2006
\nTrio Luminaria
\nCentro Cultural Rojas \/ Argentina<\/p>\n

12 D\u00e9cembre 2006
\nAtelier Musical de Touraine
\nSalle Ockerghem, Tours \/ France<\/p>\n

10 Juin 2006
\nSaint Cloud \/ France<\/p>\n","protected":false},"excerpt":{"rendered":"

(2001) Pour fl\u00fbte, alto et harpe Commande du Th\u00e9\u00e2tre du Chatelet pour le Trio Nobis. Note Commande du Th\u00e9\u00e2tre du Ch\u00e2telet. \u0152uvre \u00e9crite en 2001 pour le Trio Nobis et d\u00e9di\u00e9e \u00e0 son harpiste, Nicolas Tulliez, Formas de arena se compose de quatre mouvements encha\u00een\u00e9s. Le premier, qui s’\u00e9labore autour de la fl\u00fbte alto, est […]<\/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-302","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\/302","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=302"}],"version-history":[{"count":3,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/302\/revisions"}],"predecessor-version":[{"id":431,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/302\/revisions\/431"}],"wp:attachment":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=302"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=302"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}