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Bruno Procopio

Apr 12
11
_LAP49111

Ensemble Vedado, Ronald Martin Alonso, direction

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_LAP49111

Ensemble Vedado

The Vedado Ensemble takes various forms, assembling singers and musicians according to the repertoire but always under the direction of the viola da gamba player Ronald Martin Alonso. The ensemble specialises in music from the baroque period as well as in contemporary music played on baroque instruments. Its first project in 2011 centered on the work of the Cuban composer Esteban Salas, kapellmeister at Santiago de Cuba Cathedral from 1764 until his death in 1803. Several projects highlighting the viola da gamba followed and gave rise to two recordings: « À la Marésienne » (K617 label) and « Les Folies Humaines », both of works by the composer Marin Marais. The Ensemble Vedado is a frequent guest at festivals in France including Les Grands Concerts in Lyon, the Festival Baroque du Mont-Blanc, the Festival Format Raisins, Sinfonia in Périgord, the Journées musicales d’Automne in Souvigny and Les Méridiennes in Tours, as well as abroad: Festival du Museo de la Citta, Cremona (Italy), Midi-Minimes, Brussels (Belgium), Festival de música antigua Esteban Salas, Havana (Cuba), Festival de musica da camara, Almaty (Kazakhstan), Teatro Nacional, Quito (Ecuador), Festival de música Antigua, Lima (Peru). The ensemble also performs regularly on French radio in programmes produced by Gaëlle Le Gallic, Xavier Carrère, Clément Rochefort and Edouard Fouré Caul-Futy

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Mar 16
11
fetiches

Tomás Bordalejo

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Couverture Livret_Intérieur_1

Tomás Bordalejo

A self-taught composer and guitarist, Tomás Bordalejo arrived in Paris in 2005 after three years of jazz studies at the Institute of Contemporary Music in his native Buenos Aires.
He joined the conservatory of Gennevilliers, then the CRR of Paris and the Pôle supérieur de Création Paris- Boulogne-Billancourt. His meeting with the composer Bernard Cavanna at the Académie de Villecroze was decisive for his development, for his career. Peter Eötvös, Pascal Dusapin, Yan Maresz and Philippe Hersant also encouraged him to consolidate his own language marked by an original aesthetic.
Far removed from musical academism, Tomás Bordalejo draws on the worlds of sound he encounters as well as on exchanges with musicians to construct a music that is as abstract as it is lively and personal. His work is part of a real compositional research marked by a constant dialogue with other artistic disciplines such as architecture, urbanism or philosophy.
Each piece illustrates a staging of the sound material and a new reflection on the modes of play. Tomás Bordalejo has collaborated with the Ensembles 2e2m, TM+, Court Circuit, L’Instant Donné, Aleph, les Voix animées, l’Itinéraire, the THReNSeMBle (budapest) and the Geneva Chamber Orchestra; as well as with performers such as David Kadouch, Nöemi Schindler, Eric-Maria Couturier, Paul Meyer, Marianne Piketty, Jean Deroyer, Anthony Millet, Pierre Roullier, Nahuel Di Pierro, Alphonse Cemin, Vincent Lhermet, Gérard Caussé, Michel Portal…
Tomás Bordalejo’s music has been performed at the Colon Theatre in Buenos Aires, the Philharmonie de Paris, the Sorbonne University, the Lille Opera, the Théâtre de Gennevilliers, the Cartoucherie, the Athénée Louis Jouvet, the Théâtre du Châtelet, the Maison de la Musique in Nanterre, the Vichy Opera, the Abbaye du Thoronet, the Musée d’Art Moderne in Toulon…
Tomás Bordalejo is a laureate of the Fondation Banque Populaire and won the 2019 prize of the Tribune de Compositeurs.trices de l’Argentine (TRINAC). He is president of the ensembles 2e2m and Nomos.

 

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Mar 03
14
art of fugue

Bach , the Art of Fugue

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bach

[🎬 CLIP]
Composed during the last ten years of his life, the Art of Fugue consists of 14 fugues (or counterpoints) and 4 canons on a single subject. It was his last and most accomplished exploration
in the field of contrapuntal composition.
Check out an excerpt from harpsichordist Kenneth Weiss’ latest album, Bach’s Art of the Fugue, in pictures.

Listen to the album here 👇
https://lnk.to/Bach_Art_of_Fugue_Kenneth_Weiss

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Feb 21
13
CDKW

Kenneth Weiss

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KBB

Kenneth Weiss

Born in New York, Kenneth Weiss began his musical studies on piano. After attending the High School of Performing Arts he entered the Oberlin Conservatory of Music where he studied with Joseph Schwartz (piano), William Porter (organ) and Lisa Goode Crawford (harpsichord). It was through his studies on organ and harpsichord that he became aware of the vast early keyboard repertoire and decided to devote his professional life to it. He continued his studies with Gustav Leonhardt at the Amsterdam Conservatory and in 1985 settled in France where he is still based today. Kenneth Weiss has worked as an accompanist, vocal coach, opera continuist, chamber musician, conductor and soloist for several decades, performing extensively in Europe, North America and Asia. A dedicated teacher, he has taught at the Norwegian Academy of Music, the Conservatoire à Rayonnement Régional de Paris, the Haute École de Musique in Geneva and the Juilliard School, and has given master classes in Mexico, Great Britain and Israel. He has been professor of Chamber Music at the Conservatoire National Supérieur de Musique et de Danse de Paris since 1996. His solo recordings on the Satirino label include Bach’s Goldberg Variations, Partitas, and Well-Tempered Clavier, a recording of Rameau operas and ballets transcriptions, two Scarlatti albums, and two albums devoted to Elizabethan keyboard music — A Cleare Day and Heaven & Earth.

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Jan 13
12
Variations Golberg FVincens

Fanny Vicens

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F VIncens _Variations Goldberg

Pianist and accordionist, Fanny Vicens leads a singular international career reconciling her double profile, from classical piano recitals to experimental music mixing microtonal accordion and electronics. She appears on prestigious stages as a soloist and chamber musician in some twenty countries (Arsenal de Metz, Philharmonie de Paris, Musikverein de Vienne, Philharmonie de Odessa, Konzerthaus de Vienne, Haus der Berliner Festspiele, KKL Lucerne, Philharmonie de Cologne, Auditorium Pollini de Padova, … She is also an active ensemble musician: a member of the ensembles Cairn, Flashback and Soyuz21, she has been a guest of some thirty ensembles throughout the world, including the Ensemble Intercontemporain, Ensemble Modern, 2e2m, l’Itinéraire, Court-Circuit, the NEC, the Collegium Novum Zürich, the NEM (Montreal), Argento (New York), the Philharmonisches Orchester Augsburg, and the Secession Orchestra, among others.

She is regularly invited to play in concerto, as a pianist and as an accordionist, with renowned orchestras such as the Luxembourg Philharmonic Orchestra, the Kammerorchester Pforzheim, the Nouvel Ensemble Contemporain, the orchestras of Besançon, Cannes, Metz, Perpignan, the Orchestre des gardiens de la Paix, the Orchestre de Bretagne… under the baton of Jacques Mercier, Olari Elts, Pierre-Alain Monot, Daniel Tosi, David Reiland, Susanna Mälkki, Nicolas Chalvin, Johannes Kalitzke, Pascal Rophé: She defends the classics of her instruments (concertos for keyboards by Bach, Haydn, Mozart, Shostakovich and those for accordion by Nordheim, Haas, Françaix), but also works to enrich the repertoire by being the dedicatee of several concertos for classical accordion (Sua Seo, Chengbi An), or microtonal (Bastien David, Naoki Sakata).

She contributes to the influence of the accordion through her commitment to the contemporary repertoire and the historically documented interpretation of the baroque and classical repertoires, defending a wide solo repertoire ranging from the Goldberg Variations to Berio’s Sequenze for piano and accordion, with a predilection for 18th century keyboard music and that of the 20th and 21st centuries. Through her contact with the composers of her time, she has developed a reflection on the sound identity of the accordion and the piano, which is reflected in the creation of a rich repertoire, sometimes using electronics, or the invention of microtonal accordions. She appears in interdisciplinary performances, where chamber music often has a privileged place, within the duo XAMP, the trio 20° dans le noir or in collaborations with the choreographers Maud le Pladec, Annabelle Bonnery or Hervé Robbe.

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