Resonances

Biber | Stockhausen

Musique

WEEK-END DISCOVERY

L’ACADÉMIE DES COSMOPOLITES
BAROQUES VIOLINS Céline Steiner
HARPSICHORD Brice Pauset
THEORBO Caroline Delume
BASS VIOLIN François Poly
PIANO Jean-Pierre Collot

  • PROGRAM 

    HEINRICH IGNAZ FRANZ BIBER (1644 - 1704)
    Rosenkranz-Sonate n° 1 en ré mineur « L’annonciation » ( c.1678 )
    I Praeludium
    II Variatio
    III Aria - Allegro
    IV Variatio
    V Adagio
    VI Finale

    KARLHEINZ STOCKHAUSEN (1928 - 2007)
    Natürliche Dauern n° 1 (2005 - 2006)

    HEINRICH IGNAZ FRANZ BIBER
    Rosenkranz-Sonate n° 7 en fa majeur « La flagellation »  ( c. 1678 )
    I Allemanda
    II Variatio
    III Sarabanda
    IV Variatio

    KARLHEINZ STOCKHAUSEN
    Natürliche Dauern n° 5 ( 2005 - 2006 )

    HEINRICH IGNAZ FRANZ BIBER
    Rosenkranz-Sonate n° 14 en ré majeur « L’assomption  de la Vierge » ( c. 1678 )
    I (Prélude)
    II Grave
    III Adagio
    IV Aria
    V Aria
    VI Gigue

    Rosenkranz-Sonate n° 15 en do majeur « Le couronnement de la Vierge » ( c. 1678 )
    I Sonata
    II Aria
    III Canzon 
    IV Sarabanda

    KARLHEINZ STOCKHAUSEN
    Natürliche Dauern n° 24 ( 2005 - 2006 )


In a weekend in the form of a mini-festival, three concerts will each draw parallels between two works from radically different periods that seem to respond, each in its own way, to the same theme. Composed around 1678 for violin and basso continuo, the 15 Rosary Sonatas by Heinrich Biber retain their extraordinary power of sonic fascination. For each, Biber requires a different violin tuning, to allow longer resonance of the note chosen for open chording. The same focus on resonance is applied in Stockhausen’s Natürliche Dauern (Natural Durations, 2006) for solo piano, in which the duration of notes and numerous other compositional parameters are determined by the natural resonance of the instrument at the moment of execution.

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Auditorium
  • January 2019
    • Friday 25 at 20:00
Price M
From 5,50€ to 25€
Duration
1h20 approximately

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