{"id":4353,"date":"2012-03-23T10:00:52","date_gmt":"2012-03-23T08:00:52","guid":{"rendered":"http:\/\/www.ensembleinter.com\/accents-online\/?p=4353"},"modified":"2012-03-23T10:00:52","modified_gmt":"2012-03-23T08:00:52","slug":"trois-questions-a-stefan-keller-et-frederic-kahn","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/fr\/2012\/03\/trois-questions-a-stefan-keller-et-frederic-kahn\/","title":{"rendered":"Trois questions \u00e0 Stefan Keller et Fr\u00e9d\u00e9ric Kahn"},"content":{"rendered":"

<\/a><\/a><\/a>\"\"<\/a> <\/em>
\n\u00dcbersteiger<\/em> (photo ci-dessus) du compositeur suisse Stefan Keller et Unendlichkeit<\/em> du Fran\u00e7ais Fr\u00e9d\u00e9ric Kahn seront cr\u00e9\u00e9es par les solistes de l’Ensemble intercontemporain le 5 avril au Centre Pompidou<\/a>. L’occasion de leur poser\u00a0 trois questions sur leur \u0153uvre.
\n 
\n<\/a>\"\"<\/a>
\nStefan Keller (photo), que signifie en allemand le titre \u00dcbersteiger\u00a0?<\/em><\/strong>
\nLa signification premi\u00e8re est tr\u00e8s simple\u00a0: le mot vient de l\u2019univers du football et d\u00e9signe la technique du passement de jambe. C\u2019est un mouvement de la jambe autour du ballon qui a pour but de plonger l\u2019adversaire dans la confusion et de lui faire croire qu\u2019on va jouer dans la direction oppos\u00e9e de celle qu\u2019on entend prendre. Bref, c\u2019est une feinte.
\nPourquoi ce titre\u00a0?<\/em><\/strong>
\nParce que, en allemand, le mot \u00dcbersteiger<\/em> se rapproche, phon\u00e9tiquement, de mots tr\u00e8s similaires comme le verbe \u00fcbersteigen<\/em> (litt\u00e9ralement\u00a0: suraugmenter), lequel appelle nombre d\u2019associations d\u2019ordre philosophique. \u00dcbersteigen,<\/em> en effet, c\u2019est d\u00e9passer, surmonter, sublimer. Ce choix de titre est donc une mani\u00e8re de me moquer un peu des titres \u00e0 aspirations philosophiques (ou transcendantes) en d\u00e9tournant le mien vers le monde tr\u00e8s primitif du sport.
\nCe titre est donc lui-m\u00eame une feinte\u00a0? Un \u00dcbersteiger\u00a0?<\/em><\/strong>
\nExactement. M\u00eame si je n\u2019accorde que peu d\u2019int\u00e9r\u00eat \u00e0 mes titres, mon \u00e9criture joue beaucoup autour l\u2019id\u00e9e de feinte et ma musique est d\u2019ailleurs parsem\u00e9e de ces surprises.
\n 
\n<\/a><\/a>\"\"<\/a><\/p>\n

\n <\/em> <\/strong>\n<\/div>\n

<\/strong>
\nFr\u00e9d\u00e9ric Kahn (photo), votre pi\u00e8ce s\u2019intitule <\/em><\/strong>Unendlichkeit, en allemand <\/em>Infinit\u00e9 : pourquoi ce titre ? Quelle \u00ab\u00a0infinit\u00e9\u00a0\u00bb convoquez-vous ici ?<\/em><\/strong>
\nEn fait, l\u2019\u00ab\u00a0infinit\u00e9\u00a0\u00bb s\u2019entend ici\u00a0dans tout les sens du terme\u00a0: comme l\u2019avant et l\u2019apr\u00e8s ex\u00e9cution de l\u2019\u0153uvre, mais aussi comme\u00a0l\u2019infinit\u00e9 des possibles dans l\u2019exploration de la mati\u00e8re sonore (froissements, bruissements, d\u00e9chirements),\u00a0fix\u00e9e ou d\u00e9ploy\u00e9e en temps r\u00e9el, qui accompagne l\u2019instrument soliste.
\nLes sons irriguent les imaginaires et creusent de profonds sillons.\u00a0Leur orchestration\u00a0permet de se glisser dans le tressage des lignes afin de faire jaillir une mati\u00e8re sonore toujours mouvante et color\u00e9e, dans un souffle ample,\u00a0aux enchev\u00eatrements charnels et aux fulgurantes \u00e9chapp\u00e9es.
\nDans votre texte explicatif, vous parlez des <\/em><\/strong>Equales ou <\/em>Equali \u00ab\u00a0commun\u00e9ment ex\u00e9cut\u00e9s pendant les c\u00e9r\u00e9monies fun\u00e8bres\u00a0\u00bb. Pourquoi cette r\u00e9f\u00e9rence\u00a0?<\/em><\/strong>
\nLa r\u00e9f\u00e9rence \u00e0 la c\u00e9r\u00e9monie fun\u00e8bre participe bien s\u00fbr de l\u2019\u00ab\u00a0infinit\u00e9\u00a0\u00bb \u00e9voqu\u00e9e par le titre. Mais elle s\u2019applique \u00e9galement \u00e0 l\u2019\u00e9criture musicale, dans la mani\u00e8re de travailler les timbres de l\u2019\u00e9lectronique en temps r\u00e9el, et notamment dans la fa\u00e7on dont l\u2019\u00e9lectronique scrute la mati\u00e8re sonore\u00a0: cela me permet de mettre en sc\u00e8ne les zones de fusion et de compl\u00e9mentarit\u00e9 au sein m\u00eame de l\u2019orchestration des parties \u00e9lectroniques.
\nCette r\u00e9f\u00e9rence sous-entend-elle \u00e9galement une dramaturgie\u00a0?<\/em><\/strong>
\nIl y a bien \u00e9videment une dramaturgie\u00a0dans cette partition \u2014 la r\u00e9alit\u00e9 est une \u00e9nigme\u00a0; comment \u00ab\u00a0ce qui s\u2019est pass\u00e9\u00a0\u00bb vient-il jusqu\u2019\u00e0 nous\u00a0? O\u00f9 la m\u00e9moire noue-t-elle ses fils conducteurs\u00a0?
\nOn trouve aussi dans Unendlichkeit <\/em>une conception intuitive d\u2019une croissance organique dont les lois d\u2019\u00e9volution r\u00e9sultent du processus lui-m\u00eame.
\nLe sens \u00e9mergera peu \u00e0 peu dans l\u2019\u0153uvre, et l\u2019\u00e9lectronique y jouera un r\u00f4le fondamental, en donnant par exemple \u00e0 entendre ce qui ne peut l\u2019\u00eatre, et en provoquant le passage d\u2019un \u00e9tat du langage \u00e0 un autre. Au cours de la partition, le doute ultime s\u2019apaisera et une certitude exalt\u00e9e prendra peu \u00e0 peu possession de\u00a0l\u2019interpr\u00e8te (Paul Riveaux – photo ci-dessous).
\n\u00c0 l\u2019origine, le travail du plasticien Michel Verjux, un artiste contemporain connu pour ses installations lumi\u00e8res, devait venir dialoguer avec la musique. Cela n\u2019a pas pu se faire pour l\u2019instant, mais peut-\u00eatre dans un second temps, pour une nouvelle vie de l\u2019\u0153uvre\u2026
\n\"\"<\/a>
\n <\/em>
\n——————–
\nPhotos : Luc Hossepied<\/p>\n","protected":false},"excerpt":{"rendered":"

<\/em>\u00dcbersteiger<\/em> (photo ci-dessus) du compositeur suisse Stefan Keller et Unendlichkeit<\/em> du fran\u00e7ais Fr\u00e9d\u00e9ric Kahn\u00a0 seront cr\u00e9\u00e9es par les solistes de l’Ensemble intercontemporain le 5 avril au Centre Pompidou<\/a>. J\u00e9r\u00e9mie Szpirglas leur a pos\u00e9 trois questions sur leur \u0153uvre.<\/p>\n","protected":false},"author":5,"featured_media":4407,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[500,61,502,481],"class_list":["post-4353","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entretiens","tag-centre-pompidou","tag-creation-musicale","tag-frederic-kahn","tag-stefan-keller"],"acf":[],"yoast_head":"\nTrois questions \u00e0 Stefan Keller et Fr\u00e9d\u00e9ric Kahn - Ensemble intercontemporain<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ensembleintercontemporain.com\/fr\/2012\/03\/trois-questions-a-stefan-keller-et-frederic-kahn\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Trois questions \u00e0 Stefan Keller et Fr\u00e9d\u00e9ric Kahn - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"\u00dcbersteiger (photo ci-dessus) du compositeur suisse Stefan Keller et Unendlichkeit du fran\u00e7ais Fr\u00e9d\u00e9ric Kahn\u00a0 seront cr\u00e9\u00e9es par les solistes de l'Ensemble intercontemporain le 5 avril au Centre Pompidou. 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