Thierry De Mey
“At the meeting point between music and dance, the gesture is as important as the sound” Thierry De Mey
Composition & concept Thierry De Mey
Flora Duverger, Alexandre Esperet, Minh-Tâm Nguyen, François Papirer,
Enrico Pedicone, Rémi Schwartz, Thibaut Weber, Hsin-Hsuan Wu
Assistant to musical creation: François Deppe
Gestural coach: Manuela Rastadi
Pièce de gestes, Timelessness*, Floor patterns, Hands**,Frisking, Pièce
de gestes, Musique de tables***, Silence must be !
**Concept & choreography : Wim Vandekeybus / Concept & music : Thierry De Mey
***Except for the creation at Musica the 2019/09/29
Total Duration 1h20
Production & Commission Les Percussions de Strasbourg / Coproduction : Festival Musica
Thierry De Mey has created a sort of self-portrait, combining old and
new pieces in the same show. It is a project that took shape over time,
which he describes as an «artistic and political manifesto». His angle
as a composer centres on the body in musical practice, as illustrated by
his masterpiece, Musique de tables (1987).
Thierry De Mey
is a composer and filmmaker. The impulses associated with movement and
leaping are undoubtedly guiding forces in his work: he views rhythm as,
“a system that generates waves of falling motions and new developments.”
De Mey writes mainly for dance and cinema. In his work with
choreographers Anne Teresa De Keersmaeker, Wim Vandekeybus, and Michèle
Anne De Mey, he has stepped beyond his role of composer to offer valued
collaboration in the invention of “formal strategies.”
Pléiades (1979) 42’
The piece is divided into four parts whose titles refer to the materials used to make the instruments and the sounds they produce: "Mélanges" performed simultaneously by various percussion instruments, then "Métaux", "Claviers" and "Peaux".
The instruments use ranges from keyboards (vibraphone and marimba), to various percussion instruments and the «sixxen» - a percussion instrument specially created for this composition.
Listening to the sixxen in «Métaux», one immediately thinks of the gamelan of Indonesia, especially those from Bali, the instruments used in festive music in Japan, the chimes of churches in the Mediterranean basin and the cowbells of the Alps. The richness of timbre of the sixxen is in a way an expression of the different types of life led by man, of which metals are an integral part.
* Intermission *
Persephassa (1969) 35’
Spatialized concert for 6 percussionists
In this program, the audience is the central player : the Percussions de Strasbourg musicians are on six stages all around the audience. Closing one’s eyes and getting caught up in the sound, realizing that the entire body becomes a sound sensor. Everything turns into sensations, discoveries, suspensions. An amazing sound world, much wider than what our eyes claim to see...
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