Jean-Luc Hervé: Germination LItinéraire & Léo Margue

• Jean-Luc Hervé (b. 1960): Germination (2013) for 12 musicians and electronics:
• 1 Hervé: Germination (2013) for 12 musicians and electronics 20:01
• Topos (2022) for 8 musicians and electronics:
• 2 Hervé: Topos (2022) for 8 musicians and electronics: 1. Objets Animés 07:08
• 3 Hervé: Topos (2022) for 8 musicians and electronics: 2. Les êtres du Rêve 06:00
• 4 Hervé: Topos (2022) for 8 musicians and electronics: 3. Analogies 06:02
• 5 Hervé: Topos (2022) for 8 musicians and electronics: 4. Nature 05:52
• Au dehors (2008) for clarinet, violin, cello and piano:
• 6 Hervé: Au dehors (2008) for clarinet, violin, cello and piano 11:06
• Total Runtime 56:09

Info zu Jean-Luc Hervé: Germination

The musical material for Germination borrows from the plant world. The rhythmic idea of the piece is modelled on the speed of root growth. The melodic lines fork and branch. A plant's growth also depends on the context and direction it is given. In Germination, Jean-Luc Hervé intervenes in this directional time, just as a gardener would with plants: accelerating, slowing down, freezing the process, orienting the transformation in one direction or another, cutting it off, starting it up again...

En découverte stems from a Japanese experience. The piece proposes a metaphorical journey from the outside inwards, from the sounds of nature to the sounds of the instrument: the violin writing, which at the beginning takes the song of the Japanese nightingale (uguisu) as its model, is gradually transformed and at the end uses gestures typical of violin literature. The morphology of another bird song heard in Japan, characterised by the deformation of a motif through repetition and transposition downwards, serves as a model for the second part of the piece.

Since 2003, Jean-Luc Hervé has produced a number of pieces, which he calls concert-installations and which stand at the edge of the concert hall and its exterior, or are frankly conceived for specific outdoor locations. His desire to confront an institutional space (the concert hall) with its public extension was influenced by his understanding of two aesthetic experiences. The first was his discovery of Japanese gardens in Kyoto, while in residence at Villa Kujoyama. “During my stay in Kyoto in 2001,” he writes, “I was struck by the relationship between art and nature in Japan, and more particularly by the way in which the highly constructed architectures of the gardens are conceived in relation to their natural surroundings.” Indeed, all the elements of the garden – stones, bushes, elements of the built environment – are placed according to the views they provide by framing the landscape, and the Japanese, to define this specific relationship, speak of capturing the landscape. A second influence is Edgard Varèse’s Déserts for ensemble and tape (1954). The work consists of four instrumental episodes separated by three “interpolations of organized sounds” fixed on magnetic tape. In a different way, this work also links two different places: the concert hall, where we listen to the instrumental ensemble, and the composer’s own studio, where the sounds were recorded. ...

Ensemble Itinéraire
Leo Margue, direction

Keine Biografie vorhanden.

Booklet für Jean-Luc Hervé: Germination