FRIDAY, 22 AUGUST 2014
15:00 – Opening of the festival
[CHAPTER]
photo © Gérard Rouy
Everything you want to know about the performance of concerts and animations, the presentation of the different places, the ticket office, the bar, etc. . but also about the spirit of the festival team.
16.00 – Marc Namblard
[Rocks]
As a child, I was told « Moon dreamer ». Yet my gaze quickly looked at the incarnations of the Earth. Astounded in the desolation of the great plains of Beauce, I was reliving during the holiday on the cevenole scents, contemplating the living herbariums of flowers, enjoying the murmur of the clarins and the sound fabric of the orthopteries, immerging without restraint in the biting water of the gardons...
I quickly looked for the meaning of my life in contact with wild nature, which seemed to me to be the true palpitation of the world.
Everyone, and even musicians, often forget to listen to the world. « surroundings », to start Really. listening, i.e. paying attention to sounds in space, far away, as close as possible, in all directions and in all their states. Long, short, acute or serious, thick or transparent, smooth or granular, etc. The sounds are multiple and their activity always captivating for as little as we start to hear them for themselves: from air to vibration. The « takers » sound, audio-naturalists and others « phonographists » remind us of a first listening, that of a constant discovery of world noise, in which one can hear perpetual and always changing music. American poet Henry David Thoreau didn't say: « Music is continuous, it's listening that starts and stops and sounds are like events on the surface of silence ».
17:30 – Jérôme Noetinger & Lê Quan Ninh
[CHAPTER]
photo © Peter Gannushkin / downtownmusic.net
Unannounced encounter of two improvisers whose instrumental manipulations are the source of a resolutely musical process concrete. The sound material, in turn raw and delicate, is worked as a pretext for astonishment and unexpected.
the concert originally planned (Martine Altenburger & Tiziana Bertoncini) was cancelled for medical reasons
19:00 – Meals and animation
[ CHAIRING ]
photo © Frédérique Ribis
LOuscrapo : ORReal estate SCRAbblology POtentiel (from the uxpo family of which the oldest and most famous is the OULIPO: ORReal estate LItterature POtental )
It is a board game, giant and frontal, invention of words devoted to immediate poetry
A small example of a word from a part:
Urped: goddess of the stolen objects identified, which, for every larceny committed in this low world, receives increasingly binding administrative grievances and must classify all this in these celestial archives ...
Result: it uses Urpée ...
Instructions for use:
The rules are those of the scrabble except that:
1 – The invented words are necessary ...
1a – In exceptional cases of use of an existing word, a new definition must be assigned to it...
1 § - If a player finds a word that suits him without having his definition, he can ask his teammates or the public of curious people around ...
1 ter – Each player has 3 minutes to play and write his definition on paper
Conduct of a part:
3 players want to play settle on chairs in agreement with MEU (and 70 people can watch them)
– be explained the basics of the game
– listen to a poem or excerpt of the day's text, to get into the right juice ...
– pick up 7 letters then turn the hourglass and scrutinize their immediate imagination in order to invent a new word and its definition
– when it's his turn, the player comes to the table, installs his proposal and gives the definition to these happy teammates
– Once all the letters are positioned on the grid, MEU collects the definitions
– throughout the game, MEU lists all the words on a grid that he will gather with the definitions of the players at the end of the game (in fact, this archiving work will allow the entire team of the OUSCRAPO to publish once a year, a small book gleaning the most poetic words and definitions that will be illustrated by a collective of various illustrators ...)
8:30pm – Disctractfold Ensemble
[CHAPTER]
The Distractfold Together of Manchester, constituted in 2011, is probably exemplary of a recent generation of performers and composers who live contemporary music with a new sincerity, nourished with enthusiasm and demand, and who, like rock bands, opt for a short circuit between composition and interpretation. This ensemble works on the model of a real workshop or musical material, immediately designed by its composers, is immediately experienced by its performers, some also mixing the two disciplines. This results in a constant reciprocal stimulation which results in a liveliness transmitted on stage with brilliance and simplicity. Participants in today's sound world without neglecting any source – traditional instrumentation, electronics, computing, electrical diversion and other extended techniques – members of the Distracfold Ensemble pay close attention to the musical and artistic currents that go through our times and show how necessary it is to hear beyond the horizons set by the musical tradition, which is certainly necessary, but insufficient, as the diversity of approaches is great and conducive to a joyful and healthy questioning.
And if one wanted to summarize what the presence of this ensemble provides on stage, one would immediately evoke simplicity, the immediate evidence of a sharing of listening.
Programme :
Martin Iddon (UK) – Danaë (2009), for string trio
John Croft (UK) – Trio (2014) for bass flute, viola and cello
Sofia Gubaidulina (Russia) - Join, III. Rejoice Ravvi (1981) for violin and cello
Fabrice Fitch (F/CA) - Agricola IXd (2013), for flute and string trio
Santiago Díez-Fischer (Argentina) – Far-off (2012), for string trio with Richard Craig (flute), Linda Jankowska (violin); Emma Richards (alto), Alice Purton (cello)
http://www.disctractfold.co.uk
22:00 – Fine Kwiatkowski & Willehad Grafenhorst
[Rocks]
The relationship between dance, sound and video reaches an extreme point of intensity with this duo. The images invade and dress the space in which the dancer's body melts, immerses.
Art of improvisation, precision of a work of a requirement that is revealed in each moment, for each decision, through each gesture.
The public is immersed in an environment completely transformed by image work. No screen, no limits. Light invades the ground-to-ceiling site and relies on pre-existing volumes leading performance towards increased revelation of the three dimensions that form our environment.
Fine Kwiatkowski (dance), Willehad Grafenhorst (video, lap-steel guitar, electronics).
SATURDAY, 23 AUGUST 2014
10:00 – Commented walk
[Sighs]
photo © Lê Quan Ninh
Tom Vierhout invites you to a walk around Saint-Silvain-sous-Toulx to discover the fauna and flora of this part of the Creuse. There will of course be a question of listening and in particular of the different species of birds present at this time of year. There will be plants and trees, flowers and insects, rodents, batracians, and if you are lucky you can see deer or foxes.
13:30 – Meeting with artists
[ SHORT-SILVAIN-SOUS-TOULX EGLISE ]
Photo © Eric Tartinville / Bernadette Kozak
No, no, artists don't live in an ivory tower! Sharing a listening moment is their work, as deep and as derisory as it may seem. Through him, they wonder, find often very ephemeral answers to the contact of artistic matter and the eyes of the public. Sharing a listening moment is also about listening to what everyone feels, what everyone hears and sees. Sometimes it's good to just discuss it.
2.30 p.m. - Ocelle Mare
[Rocks]
Ocelle Mare is the solo project of Thomas Bonvalet who from 1998 to 2004 was guitarist of the band Cheval de Frise.
Instruments: mechanical bell metronome, d'harmonica plates, six string banjo, microphones, amplifiers, foot and hand knocks, ukulele six strings, tunes, concertina, dry poppy, whistles, harmonica, timer, mouth organ, celots. Thomas Bonvalet's solo project was initially focused on classical guitar, taking short, dynamic and abrupt forms and exclusively limited to the acoustic possibilities of the instrument. A radical posture that is constantly threatened with stalemate, seeing itself forced to metamorphosis and movement. The instrument has thus become less and less identifiable, absorbing and deviating from their use the sound objects present at the margins (metronomes, tuning, etc.), integrating the breath and sounds resulting from the first instrumental gesture, fragmenting and attempting to make appear a new fleeting figure. Amplification has also gradually assumed an essential place in this new instrumentarium/organism. However, there remains the same underlying voice and this great consideration for details, tension and possible points of rise.
16:00 – Audrey Lauro
[ Sighs ]
photo © Silvano Magnone
Among the new generation of improvisers, Audrey Lauro, is distinguished by the refusal to avoid the instrument by assuming full responsibility for being both instrumentalist and musician, instrumentalist and sound artist. The instrument as a companion, the instrument as a battlefield also, in short, the instrument as a question. His solo concerts are of the order of breath obviously but also of sweetness as well as eruption. From his career in jazz to composition studies at the Conservatoire de Liège, this French expatriate from Outre-Quievrain is both rooted in the history of improvisation and in lyrical exploration and passionate about sound as a territory. Between presence and disappearance.
Concert with John Russell (so you can choose which day you want to hear one or the other)
16:00 – John Russell
[ SHORT-SILVAIN-SOUS-TOULX EGLISE ]
Born 1954 in Kent, England, John Russell belongs to the second generation free improvisers of Europe, the one that already appears beyond the extraordinary influence of free jazz. Active from the early 1970s, John Russell played exclusively an acoustic guitar with metallic strings from which he deployed a multitude of sounds whose richness was discovered during a careful listening where the ear gradually discerned as many micro-events and subtle resonances as varied influences as the blues of Mississippi, Japanese shamisen, banjo or flamenco guitar. Yet, no quotations in John Russell's music but a concrete attention to what guitar does when manipulated in both traditional and extensive and inventive ways. The listener is invited to enter into a singular listening where lfurious craftsmanshipthe musician cannot be separated from the moment suitable for all kinds of events and explosions, suspensions and raw materials. And that is where improvisation lies, in the confrontation of a sound vocabulary born of a man's connivance with his instrument and listening to the present moment. John Russell does not make us hear the guitar as we know it, but as it is in his hands: a constantly remodeled sculpture, a salon of curiosities, a singular meditation.
Concert with Audrey Lauro (you can choose which day you want to hear one or the other)
5.30pm – Disctractfold Ensemble
[CHAPTER]
Programme
Richard Craig from Amp/AI (2013) set for amplified flute
Mauricio Pauly (Costa Rica) - Its Fleece electrostatic (2012-rev 2013) for violin and pedals
Richard Craig/Rodrigo Constanzo, set for amplified flute, case & electronics
Rodrigo Constanzo – solo set
Mauricio Pauly (Costa Rica) - Otra máquina celiba (2013), for amplified ensemble ( bass flute, violin, cello », percussion, guitar) & electronics in real time.
with Richard Craig (flûte), Linda Jankowska (violin & electronics), Emma Richards (percussion), Alice Purton (cello), Rodrigo Constanzo (guitar, percussion & electronics), Mauricio Pauly (amplification & electronics)
19:00 – Meals and animations
[ CHAIRING ]
8:30 pm – Cie Mamaille : Put me in the hole little gendarme
[CHAPTER]
This show scheduled last year could not have taken place for reasons beyond the will of all its protagonists.
Operette in one act by Ivan Gruselle Livret by Hélène Géhin
Put me in the little gendarme hole! the duo « Helen and Ivan », elusive, excessive and disarming couple. The two characters take on the very well-known genre of the operetta and instill a boundless enthusiasm that approaches surrealism. They did not step back in front of anything to get to their end: Grivois libretto playing the codes of classical vaudeville, lyrical voices, original music orchestrated on electric organs and synthesizers, sound machines, manipulations of objects, costumes and decor at the end of the 19th century and, above all, the prowess of performing two, five characters. All in the jubilatory celebration of a popular artistic tradition.
Hélène Géhin (mezzo-soprano): the marquise du Clairon, the soubrette. Ivan Gruselle (baryton, organist): the gendarme, the thief, the Belgian ambassador.
In a staging by Laurent Fraunié.
With a scenic device designed and made by Jeranium and Manshu.
And Bernadette Kozak costumes.
22h30 – Yannis Kyriakides & Andy Moor
[CHAPTER]
Dans le champ des musiques contemporaines et expérimentales, beaucoup d’artistes ne se préoccupent pas du style dans lequel on pourrait les enfermer. Ils établissent des ponts de manière naturelle par le seul fait de partager un même goût pour la rencontre et pour l’écoute, plus enclins à la découverte qu’à la répétition. Conscients individuellement que la voie qui est la leur est le fruit de circonstances fortuites, ils suivent l’intuition qu’au-delà du langage qu’ils ont acquis et au-delà de leurs inclinations premières peut se déployer un territoire artistique nous invitant à entendre et percevoir d’une manière neuve.
Le guitariste Andy Moor est connu entre autres pour être membre du groupe de punk rock The Ex mais aussi pour ses projets plus expérimentaux en dehors du groupe, qui vont bien au-delà de l’esthétique rock.
Parmi ces projets, un duo de longue date avec le compositeur Yannis Kyriakides, né à Chypre en 1969, qui oriente son travail vers le mélange de pratiques traditionnelles avec l’utilisation de l’électronique en temps réel. Dans cette collaboration spécifique, le jeu singulier du guitariste dialogue avec les myriades de sons électroniques de Kyriakides, créant un microcosme fantastique de paysages sonores évoluant lentement, de battements fluctuants et d’harmonies oscillantes.
Tous deux, animateurs du label unsound y ont enregistré trois albums de leur travail commun.
DIMANCHE 24 AOÛT 2014
11h00 – John Russell
[ Sighs ]
Born 1954 in Kent, England, John Russell belongs to the second generation free improvisers of Europe, the one that already appears beyond the extraordinary influence of free jazz. Active from the early 1970s, John Russell played exclusively an acoustic guitar with metallic strings from which he deployed a multitude of sounds whose richness was discovered during a careful listening where the ear gradually discerned as many micro-events and subtle resonances as varied influences as the blues of Mississippi, Japanese shamisen, banjo or flamenco guitar. Yet, no quotations in John Russell's music but a concrete attention to what guitar does when manipulated in both traditional and extensive and inventive ways. The listener is invited to enter into a singular listening where lfurious craftsmanshipthe musician cannot be separated from the moment suitable for all kinds of events and explosions, suspensions and raw materials. And that is where improvisation lies, in the confrontation of a sound vocabulary born of a man's connivance with his instrument and listening to the present moment. John Russell does not make us hear the guitar as we know it, but as it is in his hands: a constantly remodeled sculpture, a salon of curiosities, a singular meditation.
Concert with Audrey Lauro (you can choose which day you want to hear one or the other)
11h00 – Audrey Lauro
[ SHORT-SILVAIN-SOUS-TOULX EGLISE ]
photo © Patricia Lugo
Among the new generation of improvisers, Audrey Lauro, is distinguished by the refusal to avoid the instrument by assuming full responsibility for being both instrumentalist and musician, instrumentalist and sound artist. The instrument as a companion, the instrument as a battlefield also, in short, the instrument as a question. His solo concerts are of the order of breath obviously but also of sweetness as well as eruption. From his career in jazz to composition studies at the Conservatoire de Liège, this French expatriate from Outre-Quievrain is both rooted in the history of improvisation and in lyrical exploration and passionate about sound as a territory. Between presence and disappearance.
Concert with John Russell (so you can choose which day you want to hear one or the other)
13h00 – Rencontre avec les artistes
[ SHORT-SILVAIN-SOUS-TOULX EGLISE ]
15h00 – Catherine Brisset
[ Sighs ]
Bernard et François Baschet commencèrent à élaborer une de leurs « structures sonores », le fameux Cristal Baschet, dès 1952. Mettant en présence 54 cylindres de verre amplifiés par contact des résonateurs métalliques, les sonorités du Cristal sont d’une fabuleuses richesses : sons filés et purs, frottements, chuintements, etc. permettant également d’être tour à tour mélodique ou percussif. Issus d’une recherche approfondie en acoustique, cet instrument est, 60 ans après son invention, en pleine maturité. De nombreux compositeurs et interprètes se sont emparés de lui pour en développer des langages toujours plus étonnants. A nouvelle lutherie, nouvelle musique ? C’est en tous cas la voie qu’à choisie Catherine Brisset qui nous propose un parcours de pièces écrites et improvisées où la virtuosité se mêle à une grande sensibilité.
Programme
Simon Bertrand D’ombre et de lumière 1997
Sébastien Béranger En verre et contre tout I 2007
Thierry Alla Nébuleuse 2008
Graciane Finzi Thème et variations 2004
Edgar Varèse Densité 21.5 1936/1946
Catherine Brisset improvisations
16h30 – Distractfold Ensemble
[ SHORT-SILVAIN-SOUS-TOULX EGLISE ]
Programme
Iannis Xenakis (FR/Greece), Mikka « S » (1976), violon solo
Stephan Prins (BE), Ensuite (2008-rev 2011-13), violoncelle solo
Iannis Xenakis (FR/Greece), Embellie (1981), alto solo
Richard Barrett (UK) – The Vale (2012), flûte solo
Hugo Morales – Bocina (2011), pour haut-parleur et onde sinusoïde
Avec :Richard Craig (flûte), Linda Jankowska (violon), Emma Richards (alto), Alice Purton (violoncelle), Rodrigo Constanzo (électroniques)
18h00 – Compagnie Mamaille
[CHAPTER]
Le Lit, spectacle pour petits et grands
Qui n’a jamais rêvé de passer sa vie au lit ?
Eux l’ont fait : sur un lit gigantesque, trois farfelus vivent comme si le monde extérieur n’existait pas. Ils ont tout prévu pour ne jamais devoir en sortir. Leur vie est faite de musique, de poésie, d’amusement et de repos. S’ils ne font rien d’autre, c’est pour mieux se consacrer à Franz Schubert ou à Erik Satie. Leur univers est peuplé de sons les plus divers, qu’ils font jaillir des objets qui les entourent. Ainsi, nos trois bienheureux nous montrent, pendant un moment, le chemin de la sérénité et du bonheur parfait … Une histoire à ne pas dormir debout !
LE LIT est un spectacle musical où trois personnages en pyjama interprètent des airs classiques sur des instruments pour enfant, improvisent avec des objets du quotidien qu’ils détournent. Ils jouent à la musique, comme des enfants dans leur grand lit.
Les trois interprètes du spectacle en sont aussi les créateurs. Forts de leurs expériences dans les domaines de la musique, du théâtre, du cirque, de la création contemporaine et de l’improvisation, ils mêlent ici leur talent au service d’un récital poétique et burlesque.
Avec Hélène Géhin, Ivan Gruselle et Camille Perrin
19h30 – Repas et animations
[ CHAIRING ]
21h00 – Bal
[CHAPTER]
photo © Lê Quan Ninh
Avec le Caboulot Tracté
Acknowledgement
à Michel Lesage, maire de Saint-Silvain-sous-Toulx, Christian Julliard, maire de Toulx-Sainte-Croix, Vincent Turpinat, maire de Jarnages, au Comité des Fêtes de Saint-Silvain-sous-Toulx, l’A.C.C.A de Saint-Silvain-sous-Toulx, la commune de Jarnages, Alain Dallon, Eugène Chabot, René Bourdet, Annick et Roland Pouzaud, Claudine et Nelly Mousset-Papon, et à tous les bénévoles : Inge, Ninh, Marie-Martine, Christophe, Leslie, Laurine, Dominique, Michel, Marthe, Kevin, Louis, Ehud, Emile, Clément, Ludo, Alice.
L’édition 2014 a été soutenue par :
Le Conseil Général de la Creuse, la Région Nouvelle-Aquitaine, le Carrefour des 4 Provinces, Leader, le Fonds Européen Agricole pour le Développement Rural, le Pays Combraille en Marche, la SACEM, la SPEDIDAM, l’ADAMI, l’ONDA, France Bleu Creuse, Radio Pays de Guéret et La Métive.