Maxime McKinley : Brèches opéradiques (d’après Philippe Beck)
co-presented by Groupe Le Vivier
Tickets available here.
In his monumental book Opéradiques (Flammarion, 2014), Philippe Beck addresses through poems the (at times) thorny question of relationships between art forms. The section “Musicole” explores more specifically the link between music and poetry – of the “never ending” debate between meaning and sound represented by language. This concert is itself a Musicole – radio drama, chant, baroque instruments and piano 4 hands – on which Maxime McKinley worked in close collaboration with Beck. Through their work together certain various “brèches opéradiques” were achieved : moments of openness and dialogue where the boundaries of each art form meld into the other. We will hear, essentially, music about poems about music.
Gérard Pesson : Nuages du lexique (a lullaby for Philippe Beck) (2013)
Jean-Philippe Rameau : Tambourin en rondeau, excerpt from Les Fêtes d’Hébé ou Les Talents lyriques (1739)
Jean-Baptiste Lully : Air de Vénus (« Revenez, revenez, amours, revenez ! »), excerpt from Thésée (1675)
Jean-Jacques Rousseau : Que le jour me dure (Romance on three notes) (1750)
Clara Schumann : Prélude et fugue (op. 16 n° 2, B flat major) (1845)
Maxime McKinley : An example of making anything signify anything (2011)
Maxime McKinley : Musicole (brèches opéradiques) (2014-2016)*
Musicians: Daniel Anez (piano), Philippe Beck (pre-recorded voice), Marie-Annick Béliveau (mezzo-soprano), Noam Bierstone (percussion), Elinor Frey (cello), Vincent Lauzer (recorders), Mélisande McNabney (harpsichord), Brigitte Poulin (piano)
Photo by Anna Lupien