French Musicatreize plays with music and words<\/p>\n
By Izabel Deuff<\/p>\n
JAKARTA (JP): For superstitious people, "thirteen" is usually
\nconsidered a number signifying misfortune. As far as Musicatreize
\n(music played by thirteen people) is concerned, the number has
\nbrought it luck.<\/p>\n
After performing in prestigious places such as the Theater of
\nChamps-Elysees in Paris, the National Auditorium of Music in
\nMadrid and Grenade and the Tchaikovsky Hall in Moscow, the French
\ninstrumental and vocal Musicatreize ensemble will play for the
\nfirst time in Asia for Art summit Indonesia II, 1998: Performing
\nArts.<\/p>\n
The ensemble has been honored several times by French music
\ncritics and awarded some distinctions for its performances and
\nrecordings.<\/p>\n
Founded in 1987 by Roland Hayrabedian, Musicatreize is
\ncomposed of a core of 12 soloists but can welcome 16 to 24
\nsingers, depending on the pieces it plays.<\/p>\n
Thanks to this protean and flexible structure, the
\nMusicatreize repertoire ranges from baroque to contemporary
\ncompositions: it includes Maurice Ohana's Nuit de Pouchkine
\n(Pouchkine's Night), La Puerta de la Luz (The Door to Light) by
\nPatrick Burgan, Cinq Rechants (Five Songs) by Olivier Messian, as
\nwell as the 14th symphony by Dimitri Chostakovitch.<\/p>\n
Conducted by Hayrabedian, Musicatreize will perform a program
\nentitled Humoristique at Taman Ismail Marzuki Art Center in
\nCentral Jakarta, on Friday and Saturday.<\/p>\n
"The name of the program chosen for the Indonesian Art Summit
\nis Humoristique because its pieces are "music to play with",
\npieces which play on words, vocal feats and echoing effects",
\nsaid Marthe Lemut, in charge of public relations for the
\nensemble.<\/p>\n
Concentrating on compositions from the 20th century,
\nMusicatreize was honored to be invited by the festival which is
\n"obviously very open-minded about foreign ensembles", said
\nMarthe.<\/p>\n
She added that playing a contemporary repertoire is a way to
\nmake this music more widely known to the public.<\/p>\n
Albeit Hayrabedian is well known for interpreting Maurice
\nOhana's music, whose consecration of its success comes from the
\nopera La Clestine (1983). This concert will not display any of
\nhis works but those by Luciano Berio, Luigi Dallapiccola,
\nGoffredo Petrassi, Annette Schlnz and Ivo Malec.<\/p>\n
Of these five composers, Berio is the most famous. Born in
\n1925, this Italian musician is famed for his works combining
\nlyric and expressive musical qualities with the most avant-garde
\nelectronic techniques. Musicatreize will perform his Cris de
\nLondres (London's Cries).<\/p>\n
Berio was greatly influenced by Luigi Dallapiccola (1904-
\n1975), another Italian composer who was his teacher in the 1950s
\nin the United States. His vocal works are famous for being
\nwritten in Latin and for the imaginative effects of pronunciation
\nthat Musicatreize will demonstrate singing Due Cori di
\nMichelangelo Buonarotti (Two Chorus of Michelangelo Buonarotti)
\nby this composer.<\/p>\n
The ensemble will also participate in the Nonsense of Petrassi
\nwho set poems by Edward Lear to music. His pieces are plays on
\nvoices and are reminiscent of the Commedia dell'arte tradition.
\nThe following is one of the epigrams they will sing:<\/p>\n
It was an old woman in Pozzillo<\/p>\n
Whose chin ended in a pin point.<\/p>\n
She had it filed for many hours,<\/p>\n
Bought a harp<\/p>\n
And played with its chin everywhere in Pozzillo.<\/p>\n
Ornithoposie, dating from 1989, is also poetry set to music.
\nSchlnz chose to compose music for Pierre Garnier's poems: this
\npiece is made up of 13 songs using five to 11 different tones and
\nfavored murmurs, whisperings and breaths.<\/p>\n
Musicatreize will close the concert by performing Dodcameron,
\na piece composed in 1970 by Malec. As the title suggests, it is a
\npiece for 12 people and is divided into 12 parts. But Ivo Malec
\nexplained that "the most important person is the 13th one who
\nconducts the piece." He added that "a kind of playful spirit,
\nfree and improvised may be understood in some parts of the piece
\nas a tribute to Boccaccio (an Italian poet from the 14th century
\nwho wrote Decameron)."<\/p>",
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