Friday, October 25, 9:30pm
São Martinho Church
Harmonies of Dust and Space - Organ, electronics and body expression
Eva Darracq, organ
Carole Garriga, body expression
Harmonies of Dust and Space - Exploring the Elements
Earth
Ton Bruynel (1934-1998)
Dust (1992)
Philippe Andeol (1973)
HeiRc.S (2019)
Space/Air
György Ligeti (1923-2006)
Harmonies (2019 version)
Water
Eva Darracq (1975), Paul Husky (1983) and Nathalie Aguer (1977)
Derive Island for organ, dance and live electronics *
Fire
Christophe Robert (1980)
Flame Heath (Brünhilde's sleep), for organ and electronics *
Eva Darracq, organ
Carole Garriga, body expression
Nathalie Aguer, electronics
* Premiere
Harmonies and Dust have in common the composers' quest to "denature" the sound of the organ, to weaken the wind to dismantle any expectation of a grandiose sound filling the cathedrals' naves. The composers, obviously with different motivations, seek a weakened wind, an unstable sound, and thus pay homage to movement, instability, and the ephemeral. The only active structural parameter in Harmonies (1967) by György Ligeti is the color of the sound. The music is perceived more in a spatial sense than in a temporal sense. The title refers to stationary sound spaces of different sizes. Eva Darracq has created a contemporary version of this work by doubling its live performance with a recording, made by herself on the same organ, using another recording. This allows for new listening and an amplification of the perception of space. It also allows playing on a small organ with very few registrations and timbres.
Ton Bruynèl is one of the pioneers in the field of electroacoustics. His piece Dust was inspired by the accidental half-tone clusters produced when cleaning piano keys. In the author's words, this piece "should be performed on a small, soft organ, on which the organ's breath blends with the tempered notes of the keyboard and the quarter- and eighth-tones of the soundtrack."
Philippe Andéol is a sailor by profession. Initiated on the organ by Monique Assim, he has practiced ever since as a passionate amateur. Bordeaux became his new home port in 2016. He continues his apprenticeship with Eva Darracq and in the electroacoustic composition class at the Conservatoire de Bordeaux. Her work HeiRc.S is a homage to the minimalist composers of the 20th century, a study of their early works (including those of Eliane Radigue and Steve Reich.
Nathalie Aguer is a composer of acoustic music. After obtaining her diploma in electroacoustics at the Conservatoire de Musique de Bordeaux in 2017 (Prix Sacem), she continues her research at SCRIME as part of the "Arts and Sciences" cycles. An active member of the Octandre group, her pieces are regularly played in concerts and broadcast on the radio. He is currently developing a project around organ and electronics and is a member of the group kollektiv whale.
Paul Husky works with various media - instrumental music, electronics and video - which he seeks to harmonize. His career includes a classical piano practice, drawing and artistic masonry, film studies, art history, as well as Composition at the Conservatoire de Musique de Bordeaux. Christophe Robert, after studying at the Conservatoire de Bordeaux in the Organ class (François Espinasse and Eva Darracq), obtained a diploma in composition and another in Electroacoustic Composition. His main concerns are generative creation, sound space, and a strong sensitivity to the visual arts, which led him to collaborate with visual artists.
Composed for organ and electronics, Flame Heath is inspired by a page from the Flower Book by English painter Edward Burne Jones. In this series of miniatures, the Pre-Raphaelite artist is inspired by the names of certain flowers to find a mythological illustration in them. Astronoma, English for flame heath, gives rise to the vision of Brünhilde asleep under a spell from her father Wotan and surrounded by flames.
Derive Island was created especially for the Madeira Organ Festival. It is inspired by the discovery of the island, especially on the level of the elements: the vessel that is the organ, water movements, drifting, overlapping planes, navigation in and into the unknown... Routes do not always lead there, where we imagine!
Eva Darracq
Participants
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Eva Darracq-Antesberger studied piano and organ in Vienna with Alfred Mittelhofer and Michael Radulescu, and in Paris with Michel Bouvard and Olivier Latry. She graduated in Organ, Piano and Instrumental Pedagogy in 1998 and received her Maîtrise des Arts in 2002, with praise from the jury. Always dedicated to contemporary music and creation, she has collaborated with composers, dancers, comedians and electronic devices, with INA/GRM and IRCAM, in festivals in Vienna, Zurich, Paris and Tokyo. In search of new paths and a true vision of the future for the organ, he worked in residence at the Royaumont Foundation as part of the MAO creation project, namely with Kasper Toeplitz and Myriam Gourfink. His work was rewarded with prizes and scholarships, and his improvisation project won the 2001 Music Prize in Austria. His piece Organica1 for organ and body expression was premiered in Tokyo in 2012 with Carole Garriga. In 2015, ArteFact for video-mapping, organ and electronics was road in Bordeaux (Saint Michel) by Eva Darracq, Joanie Lemercier and Damien Schneider. As a concert performer, she has been invited by festivals in Europe and the rest of the world, also giving masterclasses. Since 2014, she has performed in duo with organist Klaus Kuchling. Eva Darracq is organ teacher at the Conservatoire Régional de Musique de Bordeaux and organist of the Pesce organ of the Church of Saint Augustin in Bordeaux. |
Eva Darracq|
Carole Garriga graduated in Contemporary Dance at the Lyon Regional Conservatory. During a re-enactment of Ice by Caroline Carlson, she discovered "Laban notation" - a notation system to record and analyze human movement, derived from the work of Rudolf Laban - which led her to train in Laban Cinematography at the Conservatoire National Supérieure de Musique et Danse in Paris. She has participated in internships on dance and its symbols, and works on a Laban symbol approach with children, as well as reconstituting choreographic works. She has performed with Cindy van Hacker, Kaspar Toeplitz, Odile Duboc and Josette Baiz. In 2012, she collaborated with Eva Darracq in a dance and organ project, presented in Tokyo and later in Toulouse. She carried out a research work in notation with Myriam Gourfink, for whom she has been a performer since 2000. She discovers yoga and the energy that influences her body research and meets Véronique Weil, with whom she collaborates in her ateliers. She develops several activities in schools (pre-school, primary, elementary and secondary), as well as in hoapital centers and with elderly people. Assists Myriam Gourfink in researching gardens and vegetable gardens for the Étale project. |
Carole GarrigaNotes about organ
Church of São Martinho (Funchal)
The earliest documentary reference we could find to the existence of a pipe organ in the Parish Church of São Martinho dates back to 1806. According to a record made by the treasurer of the Confraria de Nossa Senhora do Rosário, an organist was hired in 1806 to tune the organ, with other information later related to maintenance interventions.
In the register of expenses for the year 1862, entered in the Factory Book (1834-1877), the Vicar José Rodrigues de Almada wrote down the amount of 200,000 réis for payment for the new organ, specifying that 150,000 réis were applied by the Church Factory, 40,000 réis carried over from the amount that was paid on the old organ, and 10,000 réis were offered, thus making up the real price of the instrument.
Through this source it was not possible to determine under what conditions it was transported, or even where it was acquired. What is certain is that, in 1863, the organ was already in the church, for, in that same year, Father João G. de Noronha was hired to tune the instrument, receiving 2,000 réis for his work.
After the transfer of the parish to the new church, consecrated in 1918, the organ was then taken to the new temple, where it worked until 1934. According to the records found in the Factory Book (1877-1954), the organ underwent successive maintenance interventions, the most expensive of which took place in 1879 (payment of 38,000 réis to Nuno Rodrigues) and, particularly, in 1916, due to the fact that it was very out of tune and had various technical deficiencies.
As a means of accompanying and dignifying religious celebrations, the organ of the Church of São Martinho participated in various solemnities, and in 1917, the Factory Book recorded an income of 10$700 "from the organ's contribution to the festivities".
Manual (GG, AA, C-f''')
Stop Diapason Bass (G1-si)
Stop Diapason Treble (C1-fá3)
Main
Flute
Dulciana