Point de fusion

Musique du spectacle de danse classique + contemporaine présenté en juin 2021 au stade de foot de Montrabe (France)
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Musique de Sébastien Yves Lefebvre + le grand JS BACH

PENELOPE danse IN LIVE

Music of the Exhibition "1001 orchidées" at la Grande Serre du Jardin des Plantes, 2016.
Music composed by Ravi Shardja
Recorded & Mixed by Xavier Roux at Papua Barat.
Ink, picture & layout by Ambra

Belles exotiques part 1

Belles Exotiques Part 1

Quarteto Encore e a soprano Anita Ramalho.
Gravação realizada no GUSDEL estúdio.

Bachiana Brasileira Nº 5 (Villa-Lobos)

Piazzolla - Tango Etude No. 4 [Emmanuel Bach]

Durant cette heure de stationnement, nous irons de pages en plages à la découverte de coq aux lumières changeantes et d'outsider de l'art ringard. Nous lirons votre courrier et vous proposerons un petit atelier de bricolage suivi d'une pause rafraîchissante...
La maxime du jour: "Pour que l'homme qui ne porte pas de chemise soit heureux, il faut que la femme qui l'accompagne n'en porte pas non plus" (Pierre DAC)

Extraits lus :
Jim Harrison, Coluche, Dominique Perrichon, Antonin Potoski, et Woody Allen
 Au générique:
Vincent Grass dans le rôle du gardien du parking
Préparation et programmation musicale : Marie-Claire Matoute, Christine Leroy, Marion Guilbaut
Conseiller littéraire : Pascal Didier
Technique:  Antoine Viossat
Réalisation : Flore de Malet
Emissions produite et diffusée sur France Inter (22/07/2004)

France Inter

DERNIER PARKING AVANT LA PLAGE 22/07/2004

le RIRE à DEUX 

est un rire érotique, il le seul des rires à ne pas exprimer un dysfonctionnement

Voix de Gwenola Breton & Sébastien Yves Lefebvre

RIRE À DEUX

A few weeks ago, an idea was created to help indigenous peoples affected by the Amazon rainforest burning in Brazil. The first part of this journey was launched by the Voodoohop collective, and now we release the final part here at Tropical Twista Records.

Music by https://soundcloud.com/yaguaretee

Donate!

Villa-Lobos - Bachianas Brasileiras N5 (Yaguareté Rework)

The Last Dance? was commissioned by the BBC Proms and the Dunedin Consort as a new piece to conclude Bach's  Orchestral Suite No.1 in C major, BWV 1066, for the 2019 season of Henry Wood Promenade Concerts.

The work was premièred at the Royal Albert Hall on Wednesday 11 September, played by the Dunedin Consort.

Adding a movement to another composer’s work highlights the relationship between them and encourages comparison. Relating the new work to the old in some way means they can be performed together without a “disagreeable mixture"; but, equally, the new composer must express an individual voice.
Wishart has met these desiderata by adding a modern dance to Bach’s Bourrées, Passepieds, etc.: a tango — or rather two tangos – No.I preceding and following No. II, as Bach does with his. The scheme also matches that of Argentine tangueros of the last century, enhanced by Wishart’s distinctive voice and contrapuntal language. At the same time, Wishart – in line with her long-held ideas — makes use of the Baroque orchestra both to say new things in old sounds, and trusts the players to make their own contributions within the blueprint of the Baroque; there are opportunities for cadenze, and part of the piece uses the improvisatory short-hand of figured bass (the sort of idea Wishart transports into contemporary idioms) to allow the harpsichordist — within limits- to invent his/her own part.
Wishart sees concern for the environment as a natural extension of her creativity and shortly before starting this Tango, she was commissions such as those for Ex Cathedra have given her the chance to study with song-birds as a way to learn music and train her ears in unwritten forms of complex sound. 
On watching the videos of Paula Webster (who kindly gave me permission to use her recordings) and discovering that the Argentinian Hooded Grebe performs a tangoesque mating ritual, I wondered if its call might work in the music and made musical sketches notating its call variants which revealed fourthing and fifthing trilling figurations which are even quite Baroque and in the same tonality as the Bach. It seemed only natural therefore, to use its raw and impelling calls as my theme, and now on the “critically endangered” list of the International Union for Conservation of Nature and of BirdLife International my work's title draws attention to its plight. 
The piece has an optional sound-track supplied for the performance and cued from their transcription in the top line of the score. The bird-calls are heard around the same time as they are introduced by various instruments in the orchestra, indicating affekt rather than direct imitation and should sound joyously timbral rather than overly precise: they should be listened to as part of learning the piece even if not used in performance.
Instructions in the score include “Try a short flashy cadenza to end: harpsichord playing the brief grebe-call melodies in the RH, I hear a ruffle of continuous trills interfering with the sky-line pitches in the C/Bb region above and below, crossing the hands and overflapping the second manual if there is one”
Paul de Lusignan  © Stevie Wishart

Last Dance? A Baroque Tango

le rire DIABOLIQUE est ce rire reconnaissable, démoniaque, manipulateur ou farceur - qui a pour objet d'envisager le futur ... les autres rires  n'inter-agissent qu'avec le présent ou le passé.

L'interprétation de Vita bella de Lucilla Galeazzi -est de Lucie Parisot

Rire DIABOLIQUE

Sebastien Yves Lefebvre

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