Dancer Bryan Montarou confronts and intertwines his movements with the musicians of the Quatuor Anches Hantées. Openings, by Charles David Wajnberg, creates breaches in concert time, setting the sonic interferences of four clarinets against the melodic writing of the late 19th century.
Program
- Johann STRAUSS fils : Voix du printemps, op.410
- Richard WAGNER : Morgenlich Leuchtend extrait Des Maîtres Chanteurs de Nuremberg
- György LIGETI : Musica Ricercata n°4
- Charles-David WAJNBERG : Openings 1
- Johannes BRAHMS : Intermezzo en la mineur, op. 76 n°7
- Charles-David WAJNBERG : Openings 2
- Joseph HELLMESBERGER : Danse diabolique
- Charles-David WAJNBERG : Openings 3
- Johannes BRAHMS : Ballade en si mineur, op. 10 n°3
- Charles-David WAJNBERG : Openings 4
- Franz LEHÀR : Meine Lippen, sie küssen so heiß, Extrait de Giuditta
- Charles-David WAJNBERG : Openings 5
- Johann fils STRAUSS : Czárdás, extrait de Ritter Pázmán, opus 441
- Karoly GOLDMARK : Magische Töne de La Reine de Saba
- Johann STRAUSS fils : Banditen Galopp Polka
openings
for clarinet quartet (2022)
Commissioned by the French Ministry of Culture – DRAC Occitanie
If we take in situ art seriously, we can begin to rethink the situation of a work within its concert setting. How can we subvert the continuity of a performance? How can we invert the relationship between a piece and its environment? The idea behind Openings is to divert the sequential logic of the concert in order to shape it from within. Rather than relegating invention to the margins of the repertoire, the concert time itself becomes a moment of creation—thus offering a renewed and enriched listening experience.
Openings is a discontinuous composition that unfolds within a concert, opening it up in six places. Each passage is longer than the previous one, eventually stretching to a six-minute segment, for a total of around ten minutes distributed throughout the performance. This increasing rhythm of appearance allows the listener to gradually enter the piece, grasping it through the varying contrast it establishes with the other works—of which it can be seen, each time, as a musical “opening.”
Interwoven with works from the classical repertoire, Openings serves as a double opening: first, it allows for the intrusion of doubt and unrest into familiar music, and then it distances itself through its sound work, acting as an escape route from the classical legacy.
Charles David Wajnberg
Quatuor Anches Hantées
- Nicolas Châtelain, 1st Clarinet
- Sarah Lefèvre, 2nd Clarinet
- Bertrand Laude, Bass Clarinet
- Elise Marre, Bass Clarinet
Dance
- Bryan Montarou