Rumors, dialogues, breaths, thought flows, reflections. The program is strongly focused on these issues that are connected in a crescendo of expressive and emotional tension. In an extreme allegory of those voices that everyone perceives within himself, here expressed by our musical choice, enters the rhythm, symbol of time and of man, deep feeling of the natural becoming; the rhythm, embryo and fulcrum of the pieces, is isolated, bringing man back to his primitive state for a moment, then each rhythmic pattern just listened to is processed and transformed, through the percussionist’s improvisation, in that of the next piece, giving life to new voices.

Riley’s melancholy Cantos Desiertos deal with the theme of inner dialogue, the elaboration of two voices that imitate, isolate, overlap: one perceives the continuous counterpoint, precise, intimate, of two equally intimate instruments such as guitar and flute. This is followed by Dialogues by Risset, whose title is already illustrative, in which the magnetic tape, the computer, dialogues with broken voices forced to submit to the machine, to inexorable seconds. Fragmented thoughts that from the depths are transformed into the hammering and percussive flow of Sollima’s Subsongs, in which the voices, until now melancholic or indefinite, are exalted, overlapping, for a return to the genesis of being, but also to rediscover that energy that springs from the most popular rhythms. And from afar, like a memory, the sound of the guitar, Voci, returns. Like a lament, a solitary song, Incantation by Landini is a voice in empty space, almost a human voice, a voice without words, a voice that enchants. The contrast of the finale finally brings back the dream on earth, on man, on the present, on the dancing frenzy of life.


Terry Riley (1935) – Cancion Desierto e Quijote –  The Book of Abbeyozzud (1996) flute and guitar
Jean-Claude Risset (1938 – 2016) – Dialogues (1975) for flute, clarinet, piano, percussions and tape
Giovanni Sollima (1962) – Subsongs (1999) for 4 hands piano and percussions
Gilberto Bosco (1946) – Voci (1986) for guitar
Carlo Alessandro Landini (1954) – Incantation for alto saxophone
Guillaume Connesson (1970) – Techno parade (2002) for flute, clarinet and piano

“Dialogues (1975) associe quatre instrumentistes (flûte, clarinette, piano, percussion) à une bande magnétique synthétisée par ordinateur au Centre Universitaire de Marseille-Luminy, à l’aide du programme MUSIC V. La composition est fondée sur un noyau de motifs formant des séries : la manipulation de ces motifs, faite avec l’aide de programmes d’aide à la composition, oblitère graduellement les séries pour les noyer dans des harmonies résiduelles. La pièce tente d’établir des liens étroits – « rencontres du troisième type » – entre mondes sonores instrumental et synthétique. Instruments et bande magnétique dialoguent en se fondant, en se répondant, en s’opposant, en se prolongeant. Ainsi, au début, les instruments émergent insidieusement des sons de la bande. Plus tard, la bande incite le percussioniste à réagir à ses propositions. Vers la fin, la bande tisse et effiloche des structures sonores émanant des harmonies instrumentales”.
Jean-Claude Risset.


flute and piccolo, clarinet and bass clarinet, saxophone
piano (2 perfomers), guitar, percussions