ON THE MOVE

Deeply influenced by Jean-Jacques Rousseau, the Comte de Lacépède (1756-1825), author of a «Poétique de la musique» says «that music does not just organize a range of feelings; it must carry out energy», responding through this way to the creative dynamic of the composer. Days of classicism and romanticism are definitely over where during the first, only the shape of the work, and the second, the subjective reality of talent, allowed the composer to get automaticall his status as an artist.

To do this, the today composer, having experience and knowledges, must find energy enough through its fully and own commitment to reveal the meaning, to give it its value and importance, to make it alive and meaningful. Those from the 2019-2020 season are in this vein and will illustrate it at several steps.

The first one of which the title is borrowed from Jean-Noël von der Weid’ book: «Le Flux et le fixe, peinture et musique», invites us to reverse the traditional principles of music, art of time, and painting, art of space.The program thus gathers three new works in order to make connexions between these two artistic universes explored in a creative way by composers such as Ricardo Nillni, inspired by Sol Lewitt and Dan Flavin, Jérôme Combier by Raphaël Thierry, and Augustin Braud by Paul Klee.

Both on stage and on a disc released in the autumn, the «Columbia on the move» project gathers four American composers: Alex Mincek, Eric Wubbels, Mario Diaz de Leon and Askhan Bezhadi. Both performers and composers they have in common to have been trained and then have taught at the Columbia University of New York but also to share various musical experiences such as the NY underground musical scene by Mario Diaz de Leon, illustrating, if necessary, the fluid and creative energy of the contemporary american music scene and the eclectic profile of its actors.

Seen as a simple good and diverted from its function of communication, music characterizes the media culture, encompassing the masses of a thick opaque and suffocating cloud and stunning them with its fashion hiccups. This leads to a loss of the aura of the work that is only apparent in a nearby environment. This is precisely the philosophy of the meetings, three in number with successively Ricardo Nillni, Askhan Bezhadi and Brice Pauset, organized in the setting of the private salon of Ulrike Kolb in Paris. Escaping from any form of trivialization and enlivened by an aura of sacredness, ever renewed, each work presented and each meeting are therefore an event, responding to an imperious «Now, where past and future are annihilated». (Gaston Bachelard).

Jean-Luc Menet