MAIN DATES 2019/2020 :
RUSSIA (Moscow) 14-15 octobre
UKRAINIA (Kiev) 17-20 novembre
FRANCE (Paris) 21 novembre
SICILE (Messina)18-19 janvier
TAÏWAN (Taipeï) 3-8 février
GERMANY (Lübeck) 27 février-1er mars
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ITALY (Milano) 29-30 avril
FRANCE (Dôle) 16-17 mai
POLAND (Szcecinek) 2-10 juillet
DANEMARK (Aarhus) 3-9 août
NEW MUSIC FOR SAXOPHONES
Suite concertante for soprano saxophone, sax ensemble and electric guitare.
The little story is this: I had long planned to write concertos (at least 450, like Vivaldi))) playable by amateurs. I dreamed to find a modern, effective writing, with the quarter tones and the alternate fingerings that I love so much, but accessible to the « sunday's musicians », or just to the youngest. The ideal concept seemed to be the string ensemble, with an electric guitar to replace the old harpsichord (opening me somehow a possible door to electronic music).
When at the Nochta competition in Zagreb, the jury members wondered about the best way to reward the young Tia for her outstanding performance, Lev Pupis generously offered to give her a first place at the WSC 2018. I have jumped at the chance to launch my project: I offered Tia and Saxplode a turnkey concerto, accessible to non-professional teenagers. One stone, two birds killed (what an uggly expression...). In tribute to the Italian concertos, I called it Pasta Concerto, since the Baroque concertos are fascinating because everyone can play them, they are pleasant for the musicians as for the general public. I predict (as usual) a long future variation for multiple instruments, thus ensuring me glory, a comfortable retreat and an ego that explodes « to infinity and beyond ! »
... The Pasta project is a failure.
Not musically, I'm quite happy with the fun side of the business ... but on the technical side. I am unable to write simple. Fortunately for me, Tia and Saxplode are hard workers, trained by the best teachers and quite simply very talented.
Yes, but impossible to make something sounds without spiking with the difficult sauce. I know that's the key. The day I succeed (if I get there one day) to put my energy into a music simple to play, I will have reached my goal. I have so much admiration for Schubert's lieder, Grieg's little pieces, Ligeti's Musica Ricercata, Pärt, Reich ... how to access a miraculous music using whole , half notes and some quarters ?... How to write simple without writing stupid ? How to translate complex and deep emotions into clear and accessible partitions ?
Am I condemned, like 95% of the composers of our time, to hide my mediocrity behind an avalanche of rhythms and complex formulas ?
Failing to produce inspired music, at least my misfortune colleagues and I provide written sounds that thrive the market... History will, of course, sweep away all these vain productions to keep that of those, blessed creators, who will have known how to write simple and beautiful.
Because to feel simple things, to perceive the purity of the initial gesture and to get to the obvious, it is already to access beauty, isn't it ? Everyone knows that, everyone can receive and taste that... but how the hell to incarnate it in a piece of art ?...
Thanks for your confidence !
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