Antonin Tri Hoang
Disparitions
© Antonin Tri Hoang © SMITH ©
Original idea and composition, Antonin Tri Hoang
Artistic collaboration, Julien Pontvianne
Elena Andreyev, cello
Prune Bécheau, violin
Elsa Biston, live-electronics
Gulrim Choi, viola da gamba
Richard Comte, guitar
Jozef Dumoulin, organ and keyboard
Stéphane Garin, percussion
Amélie Grould, percussion
Antonin Tri Hoang, clarinet and saxophone
Julien Pontvianne, clarinet and saxophone
Lighting, César Godefroy
Production Festival d’Automne à Paris
With support from Adami
Combining instruments and various forms of musical expression (improvisation, musical theater and concert performance), Antonin Tri Hoang, this time, has introduced a change in both dimension and space, taking on the formidable scale of the church of Saint Eustache. Ten musicians set around the full area will create architecture in resonance for the composer-cum-musician to embark on the subject of disappearances [“disparitions”].
“There is something intimidating about the prospect of a performance in a building 105 meters long, 43.5 meters wide and 33 meters high, particularly as this is music, and I cannot help but think of all the sounds that have reverberated throughout the Church of Saint Eustache in the past. So what remains? There are no fossils or footprints, but simply the recollection of human beings present at the time. The church itself still stands as a vast echo chamber, the paleontological skeleton of a giant instrument. “It is a matter of scale, or degree of magnitude as seen, for example, with a picture showing a mouse beside an elephant’s foot. Feeling the weight and vertical force of the stone, we shall move to the lowest point, leaving scope for doubt, for tenuous lines, for uncertainty; we shall remain on the ground here below. Let us endeavor to dialogue with the site, asking questions, triggering metamorphosis with our questions. Making things lighter, they may appear; removing things, they may be revealed. Let us use the transient force of music as it emerges while retreating, weaving and unraveling to transform the site, imagining it as ephemeral. Disappearing, in this work, might be that: having disappearance appear, un-appear, giving shape to such continuous silencing of sound.”
Antonin Tri Hoang, March 2019
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Duration : 1h
In the same place
Das atmende Klarsein marked the last of Luigi Nono's different styles. In it, the Venetian master exalts the demise of our certainties, a way new of listening, made up of silences and fragile, unique sounds, and an attention to space and the possible. A possible which is always going somewhere and in which song equates to the existence.
Clara Iannotta, Chris Swithinbank I listen to the inward through my bones
Clara Iannotta's project is to listen to the city and its various life-forms, in a space, that of a church, which a priori preserves those inside from the noises outside. She does so by means of an electronic installation designed for the acoustics of the Church of Saint-Eustache, a building with a rich musical tradition, ranging from from Rameau to Berlioz.