Clara Iannotta
echo from afar (II) ; They left us grief-trees wailing at the wall ; glass and stone ; a stir among the stars, a making way
octoberoct 11
© Christophe Berlet ©
Friday october 11
20h
echo from afar (II) for six musicians and electronics (French premiere)
a stir among the stars, a making way for grand ensemble (French premiere)
New work for two percussion instruments, two pianos, lighting and electronics (world premiere)
Ensemble intercontemporain
Nicolò Foron, conductor
The Philharmonie de Paris and the Festival d'Automne à Paris are presenting this show in co-production.
Clara Ianotta in Les Carnets de la création.
Listen on France Culture
Meet Clara Iannotta
Friday 11 October at 6.45pm, meet the artist in the amphitheatre of the Cité de la musique before the performance. Free admission subject to availability.
With the support of
What are the relationships between a spider's growth, the sound experience of radiotherapy and the lights and clicking sounds of old-fashioned slide viewers? The work of Clara Iannotta, of which this concert offers a journey through its recent years, is a mode of self-knowledge, or an autobiography in which sound and body are intimately linked.
The inspiration behind a stir among the stars, a making way is that of animal moulting. A good example comes in the form of spiders, forced to create a new exoskeleton in order to grow. At the end of the process, a first, empty, inanimate body embodies the past, and a second, the present, if not the future. Clara Iannotta mirrors this process, between her previous work, objects which have now disappeared and an intriguing elasticity of time. echo from afar (II) relates the experience of a radiotherapy sequence, recorded during the course of the treatment. The recording was then looped in the various spaces where Clara Iannotta composed the piece. It retains the identity, rhythm and articulation of its object, but modifies its DNA according to the space itself, which acts like radiation. In relation to the third work of the concert, Clara Iannotta filters into it, via her own body, the music that her mother, who died last year, loved. She listens to its lights and images, thereby inventing an approach that is very much her own, but which relies on elements that do not belong to her.
Interview with Clara Iannotta
See also
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.
Clara Iannotta, Dmitri Chostakovich, Franz Schubert
Spanning three centuries, these three works speak of self-care, the incessant quest for new languages, crisis and renewal, and the inherent element of wandering in our lives. And of the landscape in which each point, equidistant from the centre, reveals itself to a traveller who moves around there without moving forward.
In the same place
Karlheinz Stockhausen Donnerstag aus Licht – Acte 3
Donnerstag (Thursday), the first opera of the Licht (Light) cycle, to which Karlheinz Stockhausen devoted twenty-five years of his life, is the day of Archangel Michael, his youth, journey around the earth and his return. It is also an autobiographical moment in time, overwhelmingly so, in a spiral that leads to the stars and the harmony of the universe.
Heiner Goebbels A House of Call – My Imaginary Notebook
A House of Call, a vast, lavishing, Babylonian imaginary notebook of Heiner Goebbels' travels around the world, is a sum total of sounds, styles, languages, cultures and voices. It brings us the voices of the living and the dead, recorded over the course of just over a century. Its orchestra responds to the grains of these voices, thereby renewing a centuries-old tradition of responsorial art.