(1990, 1998) sextet for tiptar with music theatre<\/p>\n
<\/p>\n
Electro-acoustic sextet from\u00a0 Daniel Schell.\u00a0 Duration: about one hour. With acting by the musicians, sc\u00e9nettes and reading of texts by A.David-N\u00e9el, Max Stirner, E.Reclus.
\nEnsemble Karo, direction Ken Ichi Nakagawa,\u00a0 with Wolfgang Daiss (tap-guitar), Judit Gudor (clarinet), Marie-Paule Verlinden (French Horn), Fran\u00e7ois Deppe (cello), Jean-Luc Plouvier (synthesiser), Pierre Narcisse (tabla, percussion).<\/p>\n
A short description follows.<\/p>\n
Orchestration<\/p>\n
“L’Enfoui fuit” – approximative translation ‘The burried escapes’ – is a concerto for sextett, involving an important part and soloing for the tiptar.<\/p>\n
Argument<\/p>\n
L’Enfoui involves also some theatrality and movements by the musicians. For instance, a marble gliding on the strings of the tiptar produces not only a wonderfull sound, but also a movement which will be imitated by the other musicians under various forms. ‘L’enfoui’ is a humoristic view of the ‘devil’ . Whatever our deeds, we produce only causes and effects, a bit like the karma<\/em> in the buddhism. Alexandra David-N\u00e9el Summary L’enfoui 02 Au monde envelopp\u00e9 dans les t\u00e9n\u00e8bres de l’ignorance<\/strong> L’enfoui 4 – Le r\u00e9veil de l’habitant peint<\/strong> L’enfoui 5 – L’enjou\u00e9 jou\u00e9<\/strong> L’enfoui 6 “La joie d’\u00eatre sauf apr\u00e8s le nauffrage”<\/strong> L’enfoui 07 L’encha\u00eenement infini<\/strong> L’enfoui 08 Bah! Oublions tout \u00e7a!<\/strong> <\/p>\n Score<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" (1990, 1998) sextet for tiptar with music theatre Electro-acoustic sextet from\u00a0 Daniel Schell.\u00a0 Duration: about one hour. With acting by the musicians, sc\u00e9nettes and reading of texts by A.David-N\u00e9el, Max Stirner, E.Reclus. Ensemble Karo, direction Ken Ichi Nakagawa,\u00a0 with Wolfgang Daiss (tap-guitar), Judit Gudor (clarinet), Marie-Paule Verlinden (French Horn), …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":108,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-110","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/pages\/110"}],"collection":[{"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/comments?post=110"}],"version-history":[{"count":2,"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/pages\/110\/revisions"}],"predecessor-version":[{"id":249,"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/pages\/110\/revisions\/249"}],"up":[{"embeddable":true,"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/pages\/108"}],"wp:attachment":[{"href":"https:\/\/www.danielschell.net\/index.php\/wp-json\/wp\/v2\/media?parent=110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThe music produces this effect by oscillations and trips around some stable characteristic elements such as natural events, melodies, bird songs, chords or even fixed points in a rhythmic cycle.
\nThe musicians have also to improvise, read and perform acting.<\/p>\n
\nThe texts and ideas come from the famous orientalist and philosopher\u00a0 Alexandra David-N\u00e9el who lived in Brussels around 1880. Her father, was a political refugee and Brussels was at the time a harbour for many “anarchists” exilated from their country. reading include Karl Marx, Elys\u00e9e Reclus and also the extraordinary ‘The unique and his property by Max Stirner.<\/p>\n
\n\u00a0L’enfoui 01-“Quelques exp\u00e9riences naturelles”<\/strong>
\nThe movement of balance, initiated by the marbles on the tiptar, will generate balance and glissandi for all the other musicians.
\nAfter a short trip, the piece ends up with a joyfull theme in ‘carreau’, a sort of cristalline jewel.<\/p>\n
\n“Au monde envelopp\u00e9 dans les t\u00e9n\u00e8bres de l’ignorance, je donnerai le rayon de la meilleures science” (‘Lalita vistara’ quoted by A. David-N\u00e9el in La Lampe de Sagesse. )
\nThis piece is first performed as a composition around a rhythmic cycle.\u00a0 Later on it will serve as a vehicle for a series of individual improvisation along some established rules. There are also tabla variations and group execution of claps and onmatopoeia singing.
\nL’enfoui 3 “Viens c’est l’heure, sors de ta maison, r\u00e9fl\u00e9chis”<\/strong>
\nA first part, “Le repos au del\u00e0 de la joie”, is symphonic and expresses the sunrise. The second uses a simple popular theme where the clarinet can danse.<\/p>\n
\nThe theme of this piece is the song of a blackbird of Suxy in the Belgian\u00a0 Ardennes. The composer found similarities with the themes of Ornette Coleman and orchestrated accordingly.<\/p>\n
\nThe piece is about good resolutions and their future. One of them ‘I shall not cheat my partner anymore’ can bring dramatic consequences, especially when ‘l’enjou\u00e9’ is himself cheated. A contrapunctic treatment of several themes gives a picture of these errances. However, there is a funny ending to all stories, and so to the piece.<\/p>\n
\nOn a warm summer night, ‘L’enfoui’ finds his wife’ in the arms of a concurrent. A succession of quiet romantic passages tiptar solo involving glissandi- with violent explosions of the ensemble.<\/p>\n
\n“Des causes et effets. Karma vipaaka” A duet tiptar-clarinett ends up in a majestuous end.<\/p>\n
\n‘Let’s forget everything’ The musicians leave the room as a joyfull marching band.
\n.
\nHistorique
\n“L’Enfoui fuit” had a first version in 1990.\u00a0 It was created in the Aeronef of Lille (command of Jean-Pascal Reux), and in Hildesheim (Uwe Kalwar) in presence of Emmett Chapman. Musicians:\u00a0 Dirk Descheemaeker (clar), Jan Kuijken (cello) Patrick Verstraete (cor), Jean-Luc Plouvier (synth\u00e9), Daniel Schell (tiptare), Pierre Narcisse (percussions)
\nThe piece was recomposed in 1998 and presented in the Botanique , Brussels.
\n” L’Enfoui fuit” 1998 was made possible by a command from Mr & Mrs Werner Wobbe, by the\u00a0 Botanique, and by a grant from the Communaut\u00e9 Fran\u00e7aise de Belgique.<\/p>\n