Partition disponible aux Editions Henri Lemoine / Jobert : https://www.henry-lemoine.com/fr/partitions-pour-ensemble/13984-intersections.html

Dédicace : aux musiciens de l’ensemble Multilatérale.

Le titre de la pièce évoque une musique au croisement de plusieurs influences, qui cultive l’hétérogénéité des matériaux en tentant de les intégrer au sein d’une forme cohérente. L’influence indienne transparait à travers les évocations de formules rythmiques de Tala de l’Inde du nord qui, recomposées librement, donnent une énergie particulière à la musique. Cette exploration rythmique nouvelle dans mon travail se double d’une volonté de focaliser l’écoute sur quelques hauteurs qui reviennent tout au long de la pièce. A la fluidité énergique de ce matériau s’opposent des sections plus apaisées où se déploient des harmonies riches et amples à partir d’une note fondamentale. Les blocs d’accords plus dissonants créent une tension qui répond à la limpidité et à la résonance naturelle de l’octave.
Cette pièce renvoie à une expérience personnelle que je vis depuis maintenant quatre ans lorsque je me rends à Singapour. Dans cette ville-état asiatique où tout converge vers l’occident, où la tradition séculaire se réfugie dans les musées et se mêle à la modernité outrancière, je fais quotidiennement l’expérience du croisement. Mes nombreuses errances dans les rues animées de China Town, de Little India ou de Tiong Bahru m’ont permis d’intérioriser toutes ces énergies humaines, ce foisonnement permanent de bruits et autres sons de la vie urbaine, cette profusion de cultures et de langues. A Singapour, je me situe aux intersections de toutes ces perceptions…

Intersections

Intersections - new version !!!

Lionel Bord is a french composer. He has received commissions from numerous ensembles (Habanera quartet, Duo Maderas, TM +, Ensemble intercontemporain, Utopik and Axone quartet) and orchestras (Poitou-Charentes, Orchestre de Paris and Radio France). He has also collaborated with the ensemble Nomos, the Smash ensemble, the ensemble Multilatérale, the Orchestre de Pau Pays de Béarn, the Orchestre National de France and conductors, including Guillaume Bourgogne, François-Xavier Roth, Arie Van Beek, Dominique My, Christoph Eschenbach and Alexandre Bloch.
He studied composition and orchestration with Allain Gaussin before he was admitted in the class of Emmanuel Nunes at the Conservatoire de Paris. He obtained a First Prize in Analysis in 2002 and a First Prize in Composition in 2006.
Lionel Bord also studied the bassoon at the Conservatoire de Nantes and then at the Conservatoire National Supérieur de Musique de Paris (CNSMDP) where he was awarded a First Prize in Bassoon and Chamber Music in 1998. The same year, he was a first prize winner with his wind quintet at the FNAPEC (National Chamber Music Competition). In 1999, he studied with S. Azzolini at the Basel’s Musikhochschule (Swiss).
In 2000 he was chosen to be the principal bassoon of the Orchestre de l’Opéra de Rouen and since 2003 has been co-principal bassoon at the Orchestre de Paris.

Marc Yeats is a British composer, abstract landscape painter, writer, poet, and artistic practice researcher. His work as a painter and composer is closely linked to techniques developed over many years, with compositions influencing new approaches to painting and techniques in painting influencing musical development. Although interested in surfaces represented in sound, colour, form, and texture, his work is further influenced by a fascination with layering, geology, erosion, landscapes, and place-specific resonance and its manifestation and embodiment in his work. Understanding, strengthening, and researching this self-referential relationship remains a life-long challenge and passion and sits at the heart of Marc’s work.

Yeats’s creative output is diverse, spanning music, painting, and literature. His recent Collected Poems Volume 1 (2005-2024) and Timecode-Supported Polytemporal Music: What It Is and How to Write It (November 2025), published by Vision Edition, are a testament to his versatility. As a researcher, his book Music, Painting, Landscape, and Me (April 2024, Vision Edition) delves into the deep interconnection between his roles as composer and painter, examining media, landscape, philosophy, neurology, perception, interpretation, walking and embodiment.

The John Davies Gallery in Moreton-in-Marsh represents his paintings, while his music is published by Composers Edition and available through Alexander Street Press libraries. His compositions have been performed by leading orchestras, ensembles, and soloists worldwide, including by the BBC Philharmonic with I See Blue (1995) and PAGAN II (1997), and most recently the unimportance of events (2021) for 22 players with the BBC Scottish Symphony Orchestra. At Tectonics Glasgow 2024, this time with the full orchestra, his spatialised polytemporal orchestral work ‘a point in the landscape’ was also featured and broadcast on BBC Radio 3.

Other commissions include the round and square art of memory (1999), a piano concerto for the BBC Philharmonic; My Blood is as Red as Yours (2008) for the Hallé Orchestra to mark World Aids Day; the choral piece sturzstrom (2012) for the Cultural Olympiad; and Forget-Me-Not (2016), a vocal installation on dementia commissioned by Yeovil District and Dorchester County Hospitals. His chamber and ensemble works are numerous and widely recognised.

Dr. Yeats has significantly advanced the study of polytemporal composition, presenting his research at institutions such as the University of Manchester, the University of Leeds, and the City University of New York. His AHRC-funded PhD research at the University of Leeds (2017-2021) focused on developing timecode-supported polytemporal composition methods, pushing the boundaries of how complex, unsynchronised musical structures can be performed without a conductor or unified pulse. His compositional method involves fully notated lines of material operating in different tempi, synchronised via mobile phone stopwatches and part-embedded timecodes. This technique enables performers to follow their temporal paths while maintaining structural coherence.

Marc’s innovative approach explores the balance between composer control and performer flexibility, yielding unpredictable yet recognisable results with each performance. His conductor-less, scoreless method allows musicians to interpret their tempi, using timecodes to navigate the music’s complex polytemporal structure. This pioneering method opens new possibilities for writing and performing multi-tempi orchestral music, enabling complex sonic relationships by managing indeterminacy.

Described as ‘haunting’, ‘enigmatic’, and ‘inspired’, the music of Australian-born, US-based composer Samantha Wolf inhabits the space between the classical, contemporary, acoustic and electroacoustic worlds, while being grounded in the notated tradition. Her practice encompasses solo, chamber, choral, band and orchestral works, interdisciplinary collaborations, theatrical sound design, and electroacoustic works that incorporate noise, speech, and found sounds. 

Samantha has worked with many of Australia’s leading new music ensembles, including the Melbourne and Tasmanian Symphony Orchestras, Elision, Ensemble Offspring, The Song Company, the Horsley Williams Duo, Rubiks Collective, and Kupka’s Piano. Her music has been performed around Australia and internationally, including at the Darmstadt Summer Courses for New Music (Germany), soundSCAPE Festival (Italy), Impuls Academy (Austria),  Norfolk Chamber Music Festival (USA), and locally at the Brisbane New Music Festival, Metropolis New Music Festival, the ANAM Set, Tilde New Music Festival, and the 2high Festival. Her music has been broadcast on ABC Classic FM, 3MBS, PBS and 4MBS, and featured by Making Waves, Partial Durations, Collective Soundwaves, and ABC’s New Waves podcast. An avid writer, Samantha’s articles have been published by Resonate, CutCommon and Rehearsal Magazine. Samantha holds degrees from the Yale School of Music, the University of Melbourne, and the Queensland Conservatorium of Music. Samantha is represented by the Australian Music Centre.

David Hudry's music draws its inspiration from the graphic arts, particularly in the works and reflections of painters such as P. Klee and W. Kandinsky, M. H. Vieira da Silva and Zao Wou-Ki.
If these influences are deeply rooted in him, his music is now going to an original path through the themes of the industrial world and abandoned places. This new source of visual and sonic inspiration gives to his music a new breath in which the pulsation, the rhythm and the timbre play an essential role. He draws all the material that gives vitality and a singular energy to his music from images of abandoned factories or uninhabited places, and from the industrial sounds of factories still active.
Website: http://davidhudry.com/

Os nomes: Marcelo Torca, Nhô Celo, Morales, Mamo Cato, são pseudônimos do músico, compositor e escritor Marcelo M. Torcato, cuja formação está baseada no piano erudito, e a sua atuação compreende a Música Popular, Música Erudita, Música Instrumental, onde escreve por quatro compositores, ou como se fosse.

Marcelo Torca é o compositor e escritor que atua no ramo da música instrumental e erudita, é o nome de apresentação, de divulgação e de comercialização, dentro da música instrumental trabalha com vários elementos harmônicos, melódicos e rítimicos, faz arranjos, possui músicas de autoria própria nos estilos: Caipira, Carnaval, Samba, Chorinho, Erudito. Como compositor faz várias experimentações e com vários instrumentos, desde instrumentos solos, até orquestras. Destacam-se as músicas: Baião a Quatro, Em Sonata, Som (flauta-doce, duas guitarras, piano); Diz Som Ando (piano); Tema (flauta, clarineta e orquestra de cordas e percussão). Como escritor, atua na área de poesia, conto, crônicas, destacando: Ao Amanhecer, Não Sei Poesias, Poesias em Dezembro, Carla(conto), Um Flautista(conto). Participou de três antologias, livros impressos: I Antologia Nacional de Poesias: Novos Poetas, Novos Talentos. Editora Mar de Idéias; Portal "Cá Estamos Nós": II Antologia. Editora All Print; Antológica Primazia. Editora All Print.

Mamo Cato pertence ao Rock Punk, onde a linha de atuação principal é de crítica a Sociedade, possui um som pesado, alegre, triste dependendo do tema a ser abordado, trabalha com guitarra, baixo, bateria, canto e teclado, pode-se destacar as músicas: Política Social, Rock Paulicéia, Liberdade. Política Social é um conjunto de dez músicas, onde o compositor deixa registrada a sua opinião referente a organização social, tem um som mais Punk, já Rock Paulicéia segue uma linha mais Rock, são dez músicas para agitar, onde os temas abordados são do cotidiano.

Nhô Celo segue a linha Caipira, onde as músicas falam sobre a vida no campo, no rancho, à beira do rio, sobre a organização da pessoa humana na zona rural, é um estilo regionalista e difunde o jeito de viver de uma determinada região, pertencente ao Interior Paulista, às margens do Rio Paraná, destacam-se: No Rio, Sonho, De Quem é Essa Terra (em parceria com Maria José M. Torcato). São músicas executadas com teclado (som de piano), baixo, viola caipira, canto, algumas músicas já foram gravadas instrumentalmente por Marcelo Torca, cujo cd já se encontra esgotado.

Morales é o músico compositor especializado em folia, ou seja, carnaval e a música que se destaca é a Folia Em Paulicéia, de rítimo alegre e contagiante, tem como proposta passar os dias de carnaval alegre e descontraído.

Intersections - new version !!!

David_Hudry