Philip Venables
Venables Plays Bach
Eglise Saint-Eustache © Louis Robiche ©
Philip Venables © Monica De Alwis ©
Venables Plays Bach
Based on Prelude, BVW 940, by Jean-Sébastien Bach
Commissioned by the Festival d’Automne à Paris
Based on an original idea by Philip Venables
Sound engineer, Camille Lezer (La Muse en Circuit)
Performances with Organ
Baptiste-Florian Marle-Ouvrard, organ
The Festival d’Automne à Paris
Production, Festival d’Automne à Paris and La Muse en circuit are coproducers of the installation.
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Installation: free admission
Events with organ: free admission, reservation required
When composer Philip Venables starts work, he usually plays Bach’s Little Prelude in D minor, BWV 940. He has been playing it since the age of fourteen, and plays by heart, but digresses from time to time, following a tangent that then lead in different directions.
To prepare the installation for the church of Saint-Eustache, the composer recorded himself every day for weeks, playing on an electronic keyboard and compiling what could be called a “sound log” of the work as it was being created. The idea of building the work and the composer’s conscious presence are central to the process, as “peregrinations of mind and music” filter through from the keyboard and his voice. In Venables Plays Bach a tangent can be detected forming a path to the composition of Numbers 81-85 and 96-100, works being written at the time of the recording. Some fifty small low-voltage speakers are placed throughout the church and play a non-stop loop of the recordings made on the day. The atmosphere is restful and conducive to listening and thinking. “There is the sound experience, but the work also explores the innermost levels of my personal rapport with the Bach prelude, and is a meditation on the act of composing.” Evening performances on the organ (October 8 and 15) will offer a response to and extension of the installation.
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.