EVOCATION


AAs we celebrate the centenary of the birth of Klaus Huber, one of our partners from the end of the last century until his death, his suggestion that music has the capacity to shake people's consciences takes on a particular relevance today, in the face of a worrying and widespread decline in our appetite for culture, a blissful fascination with the insignificant and a temptation to turn in on ourselves.  In the form of a bequest, Klaus Huber shows us the way, inviting us to build a new and broad artistic horizon, to use demanding and permanent introspection as a modus operandi, to penetrate, like Giacinto Scelsi and his friend Luigi Nono, into the depths of both Time and Sound, but also to find something like an identity in our own culture, and the one that surrounds us in a world where cultural standardisation and multiculturalism are tending to supplant a genuine dialogue that is open, curious but also distanced, and therefore infinitely more respectful of individuals and their singularity.

Brice Pauset says of Klaus Huber that everything speaks to him in terms of thought and musical approach, sharing with him, although with a few nuances, the intuition that his (distinct) commitments to politics and to the didactics of composition are closely intertwined. For Aurélien Dumont, the encounter with Klaus Huber was decisive, and he says that he found fascinating avenues of reflection that resonated with his own preoccupations. They are the composers of new works written for a very 'Huberian' formation, and  premiered for the occasion.

It is this same dialogue that the tour of Eastern Morocco, supported by the Institut Français d'Oujda, aims to bring to life through music composed like a bird sings, as Ibn Khaldun says in his Art of Poetry, and presented here through the pictorial and virtuoso gesture of painter and performer Jacob Reymond.

Finally, after his opera Strafen (The Punishments), Brice Pauset returns in a completely different form to the protean work of Franz Kafka, this time through the rich legacy of short texts written within the perimeter of the stories that make up the Punishments Trilogy. This new work, entitled Kafka-Satellites, also explores the often underestimated relationship between Kafka's texts and the cinema of the period, of which he was an avid viewer.

In our abysses
Our distorted mirrors
Let the aperture
The breach
The passage
The escape
For our hands opened to our differences

Monique Mesplé-Lassalle (Sur la Gamme d'une sourate éditions Sarrazines)

These words could not sum up our state of mind better for this new season.

Jean-Luc Menet