Tthese are some pics for the new show to be premiered in Aberdeen on 29th of october, then in Huddersfield festival, by the Red Note Ensemble.
i don ´t belong to your world, preview
I don´t belong to your world,
for prepared marimba and singing musician
where the performer includes gestures and words. The instrumental part is not a mean of expression, it´s a challenge and a fight, a problem to solve.
About the preparation of the marimba:
for prepared marimba and singing musician
About the preparation of the marimba:
Nuit Blanche, paris 3 octobre 2015
Aux Bernardins, avec l'Instant Donné
19h30
21h10
FS, Hélène Colombotti, Saori Furukawa
22h10
Maxime Echardour, Hélène Colombotti
21h30
Matthieu Steffanus, Thomas Keck, Frederik Sakham
23h10
23h20
23h30
1h10
1h20
1h30
2h00
FS & Rémy Jannin
5h00
Wilfried Wendling, Caroline Cren, Matthieu Steffanus
5h30
ephémère enchainé
Ephémère Enchaîné is musical event, which includes live music performance, music theater and video. The broad topic is the combination of a autobiographic narration with music and images. It is presented as a long Therefore, its form is in between concert, installation, opera, a performance, a story of a life, a life of thousands of persons.
These media (music, narration, videos, performances, sound design) don't only alternate, but superimpose and a mix of all that together, an attempt to find a unity through chaos, a frantic 12 hours concert, a peaceful 12 hours installation.
i dream of a situation where the audience for music could be free in its movements, whilst being concentrated, and not disturbed by parasite movements or noises. How to find "each one your own position" for listening, being in a public place ?
When one listens to music maybe he or she prefers to do lying on a bed, or the hand on the forehead, or standing up, against a wall.
Another point is the flow.
From Berio on, i've discovered the power of considering music as a part, a portion of a long flow, cut more or less arbitrarly like a sausage, or better like churros.
Indian music considers time to be infinite in both direction, that's the reason the tempura plays this pedal notes starting before the the soloist and finishing after, starting from nowhere, going to nowhere. There is no beginning, no ending. However, our short life is a small window in this infinite duration, therefore it seems a bit of a mie to pretend to start and to finish something, or, more precisely, it's childish, a can reassure ourselves, giving us a feeling of certainty, but certainly a fictitious impression.
PRO PROCIT JISTOTY
Instead, i prefer to propose a huge set of elements, organized indeed, not just thrown in any order, and not in any condition, but to try to develop this timeless, this too-large-time idea, this too-large-for-me time span.
Most of us have limitation in our music listening capacity, as well as our film watching, reading etc.
To watch a 7 hours movie without a break is a physical challenge.
Good! the feeling of over-time will come from this exhaustion, and need for fresh air, relaxation, whatever.
Meanwhile, the show goes on.
The composition can exceed the capacity of listening of a listener.
Then, what if this composition takes place during the night, at a moment where the audience usually sleeps?
Most of the listeners will fall asleep, (if they accept the idea).
It's at the moment the audience member leaves the performance, that he or she benefits the most from it: this passage tells everything of this ephémère-enchainé feeling which is the transitory condition of our existence. Yes.
The dissolution of the personality in the past, meaning, losing the feeling of being an individual because of the impression of being absorbed by a community of ghosts, of spooks, of prior voices.
A voice doesn't exist. A doesn't exist. Everything is fundamentally plural.
To percussionnists
Dear percussionnists,
Since the Munich competition, a lot of you kindly write me to get the score for Home Work.
I'm sorry it's not properly downloadable from my "scores" page, so please write me an email at
francois.sarhan{at}yahoo.fr,
or on facebook, my name there is henry-jacques glacon.
I'll send it asap.
...and thanks for all of you who have spent hours on Home Work.
Best regards,
François Sarhan
Berlin, 7th of September 2014
Since the Munich competition, a lot of you kindly write me to get the score for Home Work.
I'm sorry it's not properly downloadable from my "scores" page, so please write me an email at
francois.sarhan{at}yahoo.fr,
or on facebook, my name there is henry-jacques glacon.
I'll send it asap.
...and thanks for all of you who have spent hours on Home Work.
Best regards,
François Sarhan
Berlin, 7th of September 2014
LACHEZ TOUT (shooting II)
This room full of works, an installation room indeed, was made by Hans Langner, German artist.
He started his artist career in 1990-1994, and has a commercial background.
He has a huge body of painted works, but this room is more of a assemblage of used objects, which are literally packed.
The room is quite small, about 15 m2, but it is totally full.
This wonderful work can be seen at the Ghislain museum, Ghent.
A scene of LACHEZ TOUT ! was shot there, thanks to the authorization of the direction.
These costumes were created by Astrid Michaelis, under the influence of the rural carnavals as shown by Fréger in his book Wildermann.
These pages are from an animation about the bankers.
This text is available on wikiglacon.org
Magdalena Steinlein and Claudio Stellato in LACHEZ TOUT !
BLIND DATE in Gent, with Ictus
A few questions by Wannes Gyselinck
Remember: the exaltation in your youth when a lot of very good music (Goldberg Variations! Morton Feldman! Zappa! In a silent way! Scelsi!) was still new to you. Unheard of. Remember when this newness still had a physical impact – lying on the bed with headphones on / paralyzed by sound / literally transpiring because of esthetical shock).
- Do you still have access to this maiden-experience? (Do you envy young people’s sincere enthusiasm for aforementioned names?)
Yes i remember very well these moments, where #2 by Soft Machine, or Roxy and Elsewhere by Zappa made me sweat and jump and cry. However, i don't have it anymore with these music (the doses must be more intense now, so i need more of a full length Tristan & Isolde to have this sort of enchantment), and i don't know any youngster who has shocks with these musics. Which is perfectly understandable, they have other fascination subjects.
Is the following correlation one that applies to you (and one that frightens you): the more you know about music (or: the more music you know), the more exclusive your taste becomes, in short: the more you know, the less you like (proportionally). Also: the better you understand, the more cerebral listening becomes.)
No i don't believe in that. It can be true if there is no fresh blood, or no input, but i don't think intellect and passion and tastes are contradictory. On the opposite, i think that obsessional temperaments, people who collect and think a lot about their passion (like me) are very emotional with it, although they also are very rational and intellectual.
I suppose that getting older, the tastes are more narrow, but i'm not sure it's a musical question. If the environment or the life and so are narrowing, then the tastes will get the same.
about intellectual and emotional listening, some experiences are instructive ; for instance one can be amazed by a piece, having a clear intellectual picture of the structure of this piece, little by little. And the amazment disappears.
On the other hand, in the case of other pieces, the structure never gets clear, (it's the case with Beethoven, for instance), and the amazment never ceases, because the intellectual absorption of the piece is never completed.
Some good-old epistemology: since it is said (but do you agree?) that music does not refer to anything but itself, music is devoid/free of significance (music can only resemble other music or sound, but cannot comment on it <or can it?> or develop a discourse about it <or can it?>).
i suppose that there is a continuum : on one extreme, music is completely understood, integrated, so narrow in signification that one can say that it is translatable. On the other side of the continuum, music as self refferring, free of significance and so, does exist. Every piece of music has a different position on this continuum, and some have a very wide span.
In any case, we all pretend, and that's the most important.
That's the reason which makes talks about "The Audience" in general, necessarily demagogic.
The predicament of predicates: which predicates do you use the most often when you talk (appreciatively or disapprovingly) about contemporary music: interesting / beautiful / challenging / confronting / boring / imitative (or even worse: epigonal) / pure (unlikely, but still: it had some centuries of fervent use) / (sth. else?)
depends on the music !
But i can say that there are terms i never use : boring, challenging, confronting.
And what do they reveal about your esthetical criteria (when do you say: ‘I like it’)?
i say 'i like it' when it looks like mine, but in a better way !
In short: while listening to a piece for the first time, when you like/dislike it, do you measure it against any explicable criteria of quality? Or do you ‘simply’ know good music when you hear it?
there is no good or bad music ; there is music which matches your criterias or not. I suppose i can explain why i like some things and why i don't, but i'm also very cautious : there are external factors ; the quality of the performance, the quality of the sound, the order in the concert, the people you are with, all that has an influence on concentration and emotional response...
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