bach on the marimba · bach au marimba (2013) 4 about the musicians alexandre esperet began his...

www.sr9trio.com

2013

BACH ON THE MARIMBA

Bach au marimba (2013) 2

The SR9 Trio p. 3

About the Musicians p. 4

The Project “Bach on the marimba” p. 7

Jean-Sébastien Bach on the marimba p. 8

The Marimba p. 9

Program p. 10

Recommendation p. 11

Contact p. 13

SUMMARY


The SR9 trio

One sound. Raw, simple, natural. Adapting it, transforming it, and

capturing it. Giving it a sense, a dimension, an identity. Confronting the issue of gesture, whether musical or choreographic.

In a constant search for innovation beyond classical percussion, it is this mixture of artistic language that formed the SR9 trio.

Their eclectic artistic realm includes the areas of dance, theater, and electronic music in a process which is constantly renewed.

SR9 defends a creative vision of contemporary percussion and its evolution through lively performance.

Created in 2010 at the Conservatoire National Supérieur de Musique de Lyon in the class of Jean Geoffroy and Henri-Charles Caget, the trio was born out of a friendship between Alexander ESPERET, Nicolas COUSIN and Paul CHANGARNIER.

SR9 won First Prize at the International Percussion Trio Competition in Luxembourg in 2012, as well as the Audience Award and Interpretation Award for Jean Batigne’s work, Parcours. They were also winners of the European Musical Ensemble Competition of FNAPEC in 2012.

Their concerts include repertoire ranging from J.S. Bach to contemporary music. Through their collaboration with young composers, they actively participate in the evolution of contemporary repertoire.

The trio has performed at the Lyon Opera Amphitheatre, the Centre Musical International J.S Bach in Saint Donat, the festival “A fleur de peau” in Saint Valéry en Caux, the Conservatoire in Angers…


About the Musicians

Alexandre Esperet began his percussive studies at the Conservatoire

d’Avignon and then continued at the Conservatoire de Créteil. He was then admitted to the Conservatoire National Supérieur de Lyon in the percussion class of Jean Geoffroy. Agreed upon unanimously by his jury, he graduated with honorable mention in 2012.

His musical background also includes studies in composition, jazz, contemporary music and piano. Winning 1st prize at the National Marimba Competition in Cannes (2008), Alexandre was also a finalist in the prestigious International Competition in Geneva (2009), where he won the Audience Award and Interpretation Prize for the required work, (Dr. Glatt).

Since 2011, he has performed world-wide with the musical theatre

dance company, Arcosm, with their show, Traverse. Also possessing a passion for the symphonic repertoire, he has played

in many orchestras including the London Symphony Orchestra, the Orchestre National de Lyon, the Orchestre Régional d'Avignon, the Orchestre Regional de Cannes ...

*“Musical theatre” in this context refers to the incorporation of

theatrical elements into contemporary performance practice, (movement, spoken word, and acting) and not to works such as West Side Story.


Nicolas COUSIN began studying piano and percussion at the Conservatoire in Angers with Fabrice Marandola, Thierry Le Cacheux and Jean Fessard. He continued his studies with François Desforges and Emmanuel Curt before joining the class of Jean Geoffroy and Henri-Charles Caget at the Conservatoire National Supérieur de Lyon, where he graduated in 2011. A passionate orchestral percussionist, he won the Aïda scholarship with the Orchestre du Capitole de Toulouse and performed with the Opéra de Lyon, Orchestre National de Lyon, Saint Etienne Opera and the Opéra de Limoges. He participated in the 2010 and 2011 sessions of the French Youth Orchestra and in 2008, played with the Orchestre National d'Harmonie des Jeunes.

In 2012, he shared the stage with renowned artists including Gary Hoffmann, François Frédéric Guy, Peter Laul, Hélène Desmoulin, Juliette Hurel, and Marc Coppey at the festival “Musicales” directed by Marc Coppey.

A versatile musician, he has performed with the dance company, O

Vertigo, at the Festival of Dance and Art in Marseille (where he performed Steve Reich’s work, Drumming), as well as in Philippe Béziat’s film, Noces, which recounts the collaboration of Stravinsky and Ramuz.

He is also a co-founder and drummer of the Blues group “Clawhammers.”


Paul CHANGARNIER began playing percussion in Normandy under the guidance of Ronan Quélen in Saint- Valéry- en- Caux. He continued his education at the Conservatoire in Rouen with Catherine Favre and then at the Conservatoire in Créteil with Francis Brana. He also studied drum set with François Laizeau at the Conservatoire in La Courneuve. In 2009, he was admitted to the Conservatoire National Supérieur de Lyon in the class of Jean Geoffroy and Henri-Charles Caget. He won third prize at the International Percussion Competition in Cannes in 2010.

Paul Changarnier also plays regularly

with the Orchestre National de Lyon, the Orchestre Regional de Cannes PACA, and the French Youth Orchestra (2010 session), allowing him to work with renowned conductors such as Leonard Slatkin, Kristjan Järvi, Vladimir Fedoseyev, Kwame Ryan, Pascal Rophé ...

He joined the Ensemble Tactus in the spring of 2011. Along with his classical training, he also plays with various bands as a jazz and rock drummer (Beluga Octet, The Dog Food, Christophe de Barallon, Le Fils à Monique Orchestra).

His eclectic artistic interests have also led him to work with dance

companies. In 2011 he worked with choreographer Sandrine Maisonneuve on the work Where do our fathers sleep, and with Yuval Pick on No Play Hero. Since 2012, he has been collaborating with dancers Julia Thomas and Demay Moncla in their group, État des lieux


The Project “Bach on the marimba”

The marimba, possessing African origins, is an instrument

characteristic of Guatemala that already existed during the time of Johann Sebastian Bach. Despite this, it was practically unknown in western culture. It was only in the 20th century that the marimba found its place in western music. Due to its exceptional resources (its ability to produce harmony, polyphony, and a variety of timbres) a wide repertoire it is now dedicated to it.

In a program showcasing Bach’s music on the marimba, we forge links between both our musical history and the history of this instrument, which has brought new sounds and colors to western music. For this reason, it is essential to absorb the repertoire written prior to its appearance in classical music.

This concert is not simply a string of Bach transcriptions, but rather, consists of explorations and reinterpretations of his work, aimed at highlighting the common musical roots between western music and the marimba, which is indeed deep and universal. Composed of various works by the famous Cantor, this concert is constructed as if it were a large suite, following the true spirit of 18th century Europe.


Jean-Sébastien Bach on the marimba

The combination of Johann Sebastian Bach and the marimba may

seem daring to some, and yet… Bach was very interested in the development and integration of new instruments, notably the birth of the pianoforte, which offered new means of expression. His curiosity of sound was immense. The sound scape of the marimba, with its palette of colors and timbres, offers new expressive possibilities. In addition, the combination of Bach’s music on the marimba is particularly appropriate in representing the wealth of melodic and harmonic polyphony and counterpoint, which found its peak in his music. Rediscovering Bach’s music on the marimba creates a universal language, highlighted by the pure sounds of the instrument.

Beyond his curiosity for new instruments, Bach was always cultivating the art of transcription, adapting his own works and those of other composers to other instruments.

The tradition of associating a work to a particular instrument is fairly recent. In the Baroque Era, music was primarily the product of a world of sound which could find expression through a variety of timbres. Variety was part of the infinite world of sound.

Therefore, playing Bach’s music on the marimba also serves to perpetuate this tradition of transcription, to question the world of sound, and to appreciate how this music is a form of universal expression.


The marimba

The marimba, played with four sticks, occupies a privileged place in the family of keyboards. An instrument rich in melodic and harmonic possibilities, the bars are usually made of rosewood, giving the instrument a warm rich sound, which is enhanced by the wool mallets used to strike the instrument. It is this sound world which makes the marimba compatible with Western polyphony, representing its true original essence.

This fascinating versatile instrument, colorful and singing, powerful and intimate, and possessing a wide range, lends itself perfectly to the repertoire, whether meditative or festive. It is for this reason that shortly after its discovery by Westerners, it was incorporated into 20th century repertoire.

The variety of different approaches to sound production (dynamics, staccato, legato, differences in attacks, the use of many types of mallets) allows the marimba to adapt easily even to works that have not been specifically written for it. No rewriting is required: the works are respected, left as they are, as the marimba represents the state of true absolute sound.


Program “Bach on the marimba”

A program for 3 marimbas created around the Perpetual Canon from J.S. Bach’s work, Das Musikalische Opfer: - Prelude, Cello Suite No. 5 - Trio Sonata No. 2 BWV 526 - Grave, Violin Sonata No. 2 - Allemande and Courante, French Suite No. 4 BWV 815 - Sarabande, Violin Partita No. 1 - Menuet, French Suite No. 3 BWV 811 - Bourrée 1 and 2, English Suite No. 6 BWV 811 - Gigue, English Suite No. 6 BWV 811 - Prelude and Fugue No. 3, Well-Tempered Clavier, book 1, BWV 848 - Trio Sonata No. 4 BWV 528 *Duration: 55 minutes without intermission The works in this program are connected to each other by the Perpetual

Canon from Das Musikalische Opfer, which is presented in different forms. It

is both a tribute to this absolute masterpiece of Bach as well as a unique

moment to discover the endless harmonic possibilities made possible by the

use of three marimbas.

SR9 is sponsored by Adams:


Recommendation

"For the past few years Alexander, Paul and Nicolas have been students of

mine at The Conservatoire National Supérieur de Lyon. The formation of this trio is a logical continuation of their commitment to music. Coming from different backgrounds, they are, thanks to this trio, able to utilize their own experiences and talents.

Recent winners of the First Prize and Audience Award at the International Trio Competition of Luxembourg, one of the most prestigious awards for percussion in Europe, they continue their journey together, offering several programs including one dedicated to J.S. Bach.

The music of Bach has been transcribed from the very beginning, an act understood by Bach himself. Far from the desire to reproduce versions of "reference," their proposal explores a reinterpretation of Bach, which thanks to marimba, allows the rediscovery of his work and sheds new light upon it.”

Jean Geoffroy Soliste international

Professeur au Conservatoire National Supérieur de Lyon Directeur artistique d’Eklekto / Geneva Percussion Center

www.jeangeoffroy.com/wordpress


BACH AUX MARIMBAS!

Des instruments inhabituels ont investi dimanche 29 janvier le chœur de la Collegiale : trois marimbas, instruments de percussion, en bois de palissandre et tuyaux de métal, ont résonné sous le jeu de mains expertes et complices. Alexandre Esperet, Nicolas Cousin et Paul Changarnier, du trio SR9, ont répondu à l’invitation du Centre Musical International Jean-Sébastien Bach. Celui-ci s’efforce en effet, dans sa programmation annuelle, de faire connaitre des œuvres ou des instruments

nouveaux, montrant ainsi combien la musique baroque est universelle.Le

programme, entièrement consacré à JS. Bach, équilibré et très diversifié, était

composé comme une « suite » à partir d’œuvres et d’extraits d’œuvres. Cohésion,

retenue virtuosité : les trois musiciens, en parfaite harmonie, nous ont ainsi offert une

musique festive, à la fois intimiste et exubérante. Aussi à l’aise dans les sarabandes, les menuets ou les gigues, ils ont montré que la musique de JS. Bach peut vraiment être interprétée sur n’importe quel instrument. Les marimbas, par leurs sonorités douces et cristallines, conviennent parfaitement à l’œuvre du Cantor dont ils

soulignent la modernité.Public et interprètes, se sont retrouvés ensuite, comme à

l’accoutumée, autour du buffet traditionnel, offerts par les bénévoles du CMI JS.

Bach et la Cave de Clairmont.

(Centre Musical International J.S Bach le 01/02/2012)


Contact

Tour manager: Benedicte DEMEULENAERE 0175572724 /0660450813 [email protected] Administration: [email protected] Mailing address:

Association SR9 36 rue de la Grange 69009 Lyon FRANCE

Website: www.sr9trio.com

http://www.facebook.com/sr9trio

bach on the marimba · bach au marimba (2013) 4 about the musicians alexandre esperet began his...

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