News

January 2020 / Paris

Récital de piano

19 december 2019 / Toulouse

Récital de piano / In a Landscape

GMEA Albi – Centre national de création musicale Albi-Tarn

18 december 2019 / Albi

Récital de piano / In a Landscape

GMEA Albi – Centre national de création musicale Albi-Tarn

24-25-26 november 2019 / Vandoeuvre les Nancy

CCAM Vandoeuvre les Nancy

Peter Garland, Steve Reich / avec Stephane Garin, Josef Dumoulin, Melaine Dalibert, Denis Chouillet.

10 October 2019 / Berlin

Co-creation with ErikM

Festival Concept of doing, BERLIN / http://studioboerne45.de

The encounter and work in between Pascale Berthelot and ErikM, improviser, composer and french artist is taking place in the field of realtime music and is focused on the development of an area of musical time and sound emerging  before, in between and up  an electronic, synthesis, anecdotic and instrumental sound’s gestures and flux, as a defracting, refracting or diffusing light.

15-16-17 august 2019 / Saint-Sylvain-sous-Toulx

Festival Le Bruit de la musique

John Cage, Music for piano 4 – 84 overlapped

July 2019

Cambodia for ever


24 may 2019 / Nimes

Hommage à Claude Debussy / Sept pianistes et monsieur Croche

20h Théâtre Ligier , Nîmes

Petite suite par Muriel Bonijol et Véronique Pélisséro
Prélude à l’après-midi d’un faune (1892-1894), transcription de Maurice Ravel,
par Sébastien Mazoyer et Véronique Pélisséro
La mer, trois esquisses symphoniques (1903-1905), transcription d’André Caplet, par Pascale Berthelot et Guillaume Lazaro
En blanc et noir (1915) par Aline Marteville, Véronique Masset et Sébastien Mazoyer.

Par ses couleurs chatoyantes et ses sonorités diverses, la musique de Claude Debussy exploite de manière extraordinairement novatrice les ressources du piano. Evoquant sans cesse les timbres de l’orchestre, le piano à quatre mains ou le deux pianos enrichissent encore les possibilités techniques, polyphoniques et sonores de cet instrument, servant alors d’antichambre à l’orchestration.

16 may 2019 / Pernes les Fontaines

Studio La Buissonne, recording session with Gérard de Haro

Piano solo improvisation

22, 23 mars et 1er, 2, 3 avril, 21 mai 2019

Recording session as Artistic director of Cuicatl La buissonne / Pias france /ecm

Music of DANIEL D’ADAMO, « The LIPS CYCLE »

with: Laurent Camatte / alto, Isabel Soccoja / mezzo, Elodie Reybaud/ harpe, Nicolas Valette / Flûte and electronic.

Daniel D’Adamo was born in Buenos Aires in 1966. In 1992 he moved to France and studied with Philippe Manoury. In 1997 he attended the IRCAM working with Tristan Murail and Brian Ferneyhough.

From 1997 to 1999 he enters the French Academy in Rome, at Villa Medici, working on several projects and directing the Musica XXI festival.

In 2000, Radio France programmed a first monographic concert followed by the released of a CD by Les Percussions de Strasbourg, Court Circuit and Ircam. In 2006 he received the Boucourechliev award together with a new commission for large ensemble : « Frontières-Alliages ». In 2007 and 2010, he was in residence at the Abbaye de Royaumont, where he composed « Madrigali », for three singers and ensemble playing on baroque instruments and « Nuits-Cassation » for wind ensemble playing on classical instruments. In 2011, he started the composition of « The Lips Cycle », a series of chamber pièces with electronics, as well as « Plier/Déplier » a string quartet with electronics, commissioned by the French Government.

In 2012, the Contrechamps Ensemble programmed a double portrait concert Webern – D’Adamo, and first performed his piece: « Tout lieu habité».

From 2013 to 2018 he composed several new Works including « La haine de la musique » (The hate of music) a monodrama for one actor, ten musicians and electronics on the essay by the french writer Pascal QUIGNARD, first performed by the TM+ ensemble during the Musica Festival in Strasbourg, in the Philarmonie de Paris and in the Music house of Nanterre (France). In 2017 he composed his first chamber opera « Kamchatka », performed in the Colon opera house of Buenos Aires, in the Dunois theater in Paris and recently at the Dixon Theater of New York city.

His last piece « Sur vestiges » for string quintet will be first performed in Paris in October 2018 by the Béla string quartet and Noémi Boutin, a cd with this piece And F. Schubert’s string quintet is being released in 2019. He is actually working on a string quartet with electronics for the Tana string quartet, commissioned by the Ircam and by the Tana string quartet and on the composition of a new chamber opera and a new piece for symphonic orchestra.

The music of Daniel D’Adamo has been performed in North and South America, in Asia and Europe. He collaborated with Tana and Bela string quartets, K/D/M/ trio, Court Circuit, Les Percussions de Strasbourg, Accroche Note, Ensemble XXI, L’Instant Donné, Sillages, Ensemble Orchestral Contemporain, TM+, Les Cris de Paris, Poïésis, Almaviva, Linéa, Spectra (Belgium), Nuove Sincronie (Italy), Nouvel Ensemble Moderne (Canada), Contrechamps (Switzerland), etc. His pieces have been performed in music festivals such us Présences, Agora, Musica, Manifeste, Biennale de Lyon, Les Musiques de Marseille (France), Inventionen (Germany), Nuova Consonanza, RomaEuropa, Traiettorie (Italy), Journée de Contrechamps (Switzerland), Archipel (Switzerland), BIFEM (Australia), etc. Since 2002, Daniel D’Adamo lives and works in Paris.

14 et 15 février 2019 / Paris

Colloque « Habiter l’exil, Penser les lieux à partir des processus de création »

Institut Mutualiste Montsouris

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eve-84

SYLVANES / PASCALE BERTHELOT

17 > 19 JUIL

ABBAYE DE SYLVANÈS (AVEYRON)

La 4 ème dimension : là-langue invisible du présent

De par son écriture le compositeur noue et réduit en un même temps l’œuvre en 3 dimensions qui l’habite en extériorité de lui-même, à la surface bi-dimensionnelle du feuillet. S’inscrivent alors en creux, comme autant de ravinements invisibles de la trace, des possibilités d’espace-temps acoustiques négatifs renversés qui, remis en jeu, ne demandent qu’à se redéployer.

Cette 3eme dimension souterraine, In-time au contact du crayon sur la feuille de papier, réapparait parfois de son autre côté, dans la « magie » du jeu de l’interprète, peut-être « grâce » du tour de ce passe-passe, sous forme de mirage-nuage-caresse acoustique éphémère qui me revient, me touche et dont je me souviens.

La feuille m’apparait alors comme le miroir symbolique qui, un moment suspendu, ne renvoie pas de message inversé mais ouvre de par ses signes et la complexité de l’énigme qu’ils présentent aussi bien la coupure et le passage au-dessus du Réel – limite entre l’exister et de l’existant – territoire de l’où – vers – dialectique négative – troisième voie entre objectivité et subjectivité d’où émerge alors parfois en une positivité nouvelle, une quatrième dimension, un eX-time s’élevant au-delà de l’œuvre jouée.

Langue invisible du présent, extériorité de l’extériorité, fonction de « l’exister » qui vire alors au présent, (H)OR(S)-sens énigmatique qui fait sens à celui qui la joue mais aussi sens dans son non-sens à l’autre qui écoute – l’évanescence – de par sa fraîcheur, son étrangeté absolue de réel diffracté, signe la présence d’une singularité et la possibilité infinie de l’homme à conjuguer les opposés.

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22-23 june 2018 / Dundalk

World premieres of new works by Salvatore Sciarrino and Gerard Pesson performed by Matteo Cesari and Pascale Berthelot

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Louth Contemporary Music Society presents

The Book of Hours
Dundalk — 22-23 June 2018

It’s about time.

The original Book of Hours was a collection of prayers and private devotions, the lay person’s way of following the Divine Office of the monasteries. Most often associated with wealthy Roman Catholics in the Middle Ages, Books of Hours were remarkably varied. Kings and queens owned personally commissioned sets, illuminated in gold leaf, while paper versions were sold to merchants, and gifted to housewives, and children. Collections would be annotated, amended, handed down to generation after generation.

No two Books of Hours were alike, but the function remained the same: to illuminate the day with moments of the divine.

Over two days in June, Louth Contemporary Music Society aims to do just that with its own Book of Hours, a music festival devoted to beautiful, profound music by contemporary composers from across the globe.

As well as new works from Salvatore Sciarrino (Italy) Gérard Pesson (France), and Michael Pisaro (USA), the festival will also spotlight contemporary female composers, including new works from Karen Tanaka (Japan), Galina Grigorjeva (Estonia/Ukraine), Linda Buckley (Ireland) and Rebecca Saunders (UK/Germany), with Pesson and Pisaro travelling to Ireland for the first time to hear their music performed.

A truly international music festival, it will feature five concerts over the two days including Arvo Pärt’s sublime Stabat Mater, Gavin Bryars’ iconic and deeply moving Jesus blood never failed me yet, plus Linda Buckley’s hauntingly beautiful works, Fiol and Revelavit, Wolfgang Von Schweinitz’s KLANG… and selections from the works of Hildegard Von Bingen.

The festival opens on Friday with the presentation of the prestigious Belmont Prize for Contemporary Music by Gabriele Forberg-Schneider of the Forberg-Schneider-Stiftung to Eamonn Quinn, Artistic Director of Louth Contemporary Music Society.  The Belmont Prize honours ‘innovation, daring, and courage’ in music and is awarded every two years. It is one of Europe’s largest artistic awards, with a prize of €20,000. Previous winners include composer and clarinetist Jörg Widmann, pianist Marino Formenti, New Yorker music critic Alex Ross, and violinist Carolin Widmann.

Details

Friday 22 June 2018

Belmont Prize Ceremony
7.30pm, The Oriel Centre at Dundalk Gaol

Presentation of the prestigious Belmont Prize for Contemporary Music by Gabriele Forberg-Schneider of the Forberg-Schneider-Stiftung to Eamonn Quinn, Artistic Director of Louth Contemporary Music Society.

Night Prayer

8pm, The Oriel Centre at Dundalk Gaol

Gothic Voices will perform a programme of mediaeval and contemporary works in the intimate setting of Dundalk Gaol. Karen Tanaka, Linda Buckley and Michael Pisaro have all written new works to mark the occasion. The programme will open with the numinous beauty of Linda Buckley’s Revelavit.

Tickets €10 available from www.eventbrite.ie

Saturday 23 June

Morning Prayer
1pm, The Chapel, St. Vincent’s School, Jocelyn St Dundalk

The Flemish string trio Goeyvaerts Trio will play a beautiful programme of Wolfgang Von Schweinitz’s hallucinatory work for string trio and

ring modulator, KLANG auf Schön Berg La Monte Young,  plus Linda Buckley’s Fiol, in Just Intonation tuning. This promises to be a magical transportive concert in a beautiful resonant setting.
Tickets Free but attendees are asked to register www.eventbrite.ie

Daytime prayer

3pm in Dundalk Gaol

The incredibly talented and internationally lauded composer Rebecca Saunders comes to Louth for the first time for a specially curated performance of her music including the world premiere of her James Joyce inspired work, O, Yes & I. The performers include Carol Robinson, Juliet Fraser, Helen Bledsoe and Séverine Ballon

Tickets Free but attendees are asked to register www.eventbrite.ie

Evening Prayer
5pm in St.Nicholas Church of Ireland, Dundalk

This concert features the world premiere of a new work by Salvatore Sciarrino for solo flute, performed by the incredible Matteo Cesari, one of Sciarrino’s closest collaborators. Additionally the programme will feature the piano music of Gérard Pesson, performed by Pascale Berthelot including the world premiere of a new work for piano, in the presence of the composer himself, on his first visit to Ireland.

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Tickets Free but attendees are asked to register www.eventbrite.ie

Night Prayer II

8pm in St.Nicholas Church of Ireland Dundalk

Saturday’s evening concert ends the festival with Arvo Pärt’s 1985 work, Stabat Mater, performed here in Just Intonation tuning by the Goeyvaerts Ensemble, adding new shining depths to this spare, devotional masterpiece. Additionally the Ensemble will also perform a new LCMS commission, Chant, from Galina Grigorjeva. The concert ends with a version of Gavin Bryars’ haunting, ethereal Jesus Blood, the UK composer leading a festival ensemble — including young musicians from Music Generation Louth — in a perfect end to the festival.

Tickets €10 available from www.eventbrite.ie

Additionally there will be an interview with the composers at 6.30pm in the side chapel of St. Nicholas Church of Ireland.

Funded by the Arts Council, Create Louth, Forberg-Schneider-Stiftung and Ernst von Siemens Music Foundation

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17 juin 2018

Pascale Berthelot : 
John Cage « Music for Piano 4​-​84 overlapped
 » par Lê Quan Ninh

par Revue & Corrigée

parue le 17 juin 2018
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May 2018

NEW CD / MUSIC FOR PIANO 4-84 OVERLAPPED, JOHN CAGE

Pascale Berthelot, piano Steinway & sons, préparé par Alain Massoneau

Enregistrement, Gérard de Haro, Studios La Buissonne – 2017

CUICATL#006

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Dans le cadre de la Nuit de la lecture, organisée par le Ministère de la Culture

NUIT DE LA LECTURE

Chroniques minuscules, des mondes d’antan

Le samedi 20 janvier 2018
20 h 30
Chapelle du Méjan

Kader ROUBAHIE, comédien
Pascale BERTHELOT, pianiste
René BOTTLANG, pianiste

Lecture de chroniques de Christophe de Beauvais par le comédien Kader Roubahie, inspirés de photographies d’archives de la Bibliothèque nationale de France, qui seront projetées pendant la lecture. René Bottlang et Pascale Berthelot improviseront au piano sur ces textes.

http://nepantla.net/e_chroniques_pb.html

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Décembre 2017

CHRONIQUES minuscules, improvisations sur des textes de Christophe de Beauvais

Pascale Berthelot, piano Steinway & sons préparé par Alain Massoneau

Enregistrement / Gérard de Haro / Studio La Buissonne

Pour écouter plus:

http://nepantla.net/e_chroniques_pb.html

…………………………….

Dans le cadre de la Nuit de la lecture, organisée par le Ministère de la Culture

NUIT DE LA LECTURE

Chroniques minuscules, des mondes d’antan

Le samedi 20 janvier 2018
20 h 30
Chapelle du Méjan

Kader ROUBAHIE, comédien
Pascale BERTHELOT, pianiste
René BOTTLANG, pianiste

Lecture de chroniques de Christophe de Beauvais par le comédien Kader Roubahie, inspirés de photographies d’archives de la Bibliothèque nationale de France, qui seront projetées pendant la lecture. René Bottlang et Pascale Berthelot improviseront au piano sur ces textes.

http://nepantla.net/e_chroniques_pb.html

EnregistrerEnregistrer