Musique de chambre

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Corps et cuir
for Wind Quintet (Flute, oboe, Clarinet, French Horn, Bassoon)Duration 12’
A park. Ground tanned by the passage of our feet and the weight of our bodies. Only dust escapes from this infertile soil. From a couple of notes, haunting in their variation throughout the piece, emerges a succession of tensions, of divisions.  Until the coda, like light emanating from the ruins.

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Corps et cuir
for Wind Quintet (Flute, oboe, Clarinet, French Horn, Bassoon)Duration 12’
A park. Ground tanned by the passage of our feet and the weight of our bodies. Only dust escapes from this infertile soil. From a couple of notes, haunting in their variation throughout the piece, emerges a succession of tensions, of divisions.  Until the coda, like light emanating from the ruins.

Composer website link

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Depuis la pierre
Violon soloDuration 15’
From the smooth surface of the stone, accidental shapes arise, made of lines, notches, granularity. They create a movement which penetrates in turn the density of the stone, capturing any attempt at language. When silence returns, a vibrating line questions the idea of weight.

Printed version, click here

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Depuis la pierre
Violon soloDuration 15’
From the smooth surface of the stone, accidental shapes arise, made of lines, notches, granularity. They create a movement which penetrates in turn the density of the stone, capturing any attempt at language. When silence returns, a vibrating line questions the idea of weight.

Memento Mori
Alto Saxophone and CelloDuration 11’
A fusion of tones, an inexorable crescendo which ends in dislocation, memento mori shares with 17th-century paintings the notion of vanitas, a symbolic representation of death through old symbols and themes, and of the desperate attempts to oppose destiny.
It all starts with two superimposed sounds. Then, inexorably, everything is amplified. Until the extreme overbidding that tends to undermine the very foundations of the piece: or how, starting from a chromatic dialogue and a palpable tension, one arrives at eructations in the form of repeated and vain spectral rises. For it is indeed a question here of showing the permanent vanity that motivates the musical action as well as the human action at work in this piece. Alternating tense, horizontal passages, pushing towards the next, and unbridled passages where all the vain violence arising from the previous ones is revealed, memento mori is intended to represent human follies always in touch with the same desires for power, for domination of one over the other. A permanent dialogue between saxophone and cello, one always following the other, and conversely, the piece is also an attempt to melt the timbres into each other, as if one were whispering in the ear of the other, like the slave to the general entering Rome triumphantly: remember that you are going to die... This piece is a vanity in the sense in which seventeenth-century painters understood it, carrying within it the ancient symbols and themes of death and the often desperate attempts to counter fate.

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Memento Mori
Alto Saxophone and CelloDuration 11’
A fusion of tones, an inexorable crescendo which ends in dislocation, memento mori shares with 17th-century paintings the notion of vanitas, a symbolic representation of death through old symbols and themes, and of the desperate attempts to oppose destiny.
It all starts with two superimposed sounds. Then, inexorably, everything is amplified. Until the extreme overbidding that tends to undermine the very foundations of the piece: or how, starting from a chromatic dialogue and a palpable tension, one arrives at eructations in the form of repeated and vain spectral rises. For it is indeed a question here of showing the permanent vanity that motivates the musical action as well as the human action at work in this piece. Alternating tense, horizontal passages, pushing towards the next, and unbridled passages where all the vain violence arising from the previous ones is revealed, memento mori is intended to represent human follies always in touch with the same desires for power, for domination of one over the other. A permanent dialogue between saxophone and cello, one always following the other, and conversely, the piece is also an attempt to melt the timbres into each other, as if one were whispering in the ear of the other, like the slave to the general entering Rome triumphantly: remember that you are going to die... This piece is a vanity in the sense in which seventeenth-century painters understood it, carrying within it the ancient symbols and themes of death and the often desperate attempts to counter fate.

Printed version click here

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Pozor Zobor
Flûte, Percussions, Piano, Strings trioDuration 4’30
A piece created from almost nothing - from two or three notes. The struck chord punctuates the piece, like the evenements of a lifetime. And the music unfolds according to a logical sequence: 1+1+2+2+3+3+4+4+5+5=30.Thirty bars in the blink of an eye. Alternating group by group, balance and chaos, calm and movement, linear and fragmented. From the very title the piece is characterised by its duality.

Printed version, click here

Pozor Zobor
Flûte, Percussions, Piano, Strings trioDuration 4’30
A piece created from almost nothing - from two or three notes. The struck chord punctuates the piece, like the evenements of a lifetime. And the music unfolds according to a logical sequence: 1+1+2+2+3+3+4+4+5+5=30.Thirty bars in the blink of an eye. Alternating group by group, balance and chaos, calm and movement, linear and fragmented. From the very title the piece is characterised by its duality.

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Sub Sole
Barytone Saxophone  and Piano
duration 10'00
What's there to add to the paradoxes? Another sequence of sounds? Who is already lost in the night?
Hard to say, in the daily flow. Keeping one's word in secret. For the little of an ear.
Saying it slowly. Slowly. Against speed in violence already eating the stone.
Chasing the wind, like a rider chases windmills. To break its back, but what does it matter?
To whisper the secret of a road, always the same, to freshen the grass at your feet.

Printed version,Click here

Audio
Carl-Emmanuel Fisbach [saxophone] et Wenjiao Wang [piano]

Sub Sole
Barytone Saxophone  and Piano
duration 10'00
What's there to add to the paradoxes? Another sequence of sounds? Who is already lost in the night?
Hard to say, in the daily flow. Keeping one's word in secret. For the little of an ear.
Saying it slowly. Slowly. Against speed in violence already eating the stone.
Chasing the wind, like a rider chases windmills. To break its back, but what does it matter?
To whisper the secret of a road, always the same, to freshen the grass at your feet.

Audio
Carl-Emmanuel Fisbach [saxophone] et Wenjiao Wang [piano]