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Events 2019 / 20120 / 20201


« Nessym, le souffle de la Méditerranée »

"Nessym,the Breath of the Mediterranean "

Drama department Conservatoire Perpignan-Méditerranée
Jean-François Héron, narrator
Gérard Garcin, flautist

"the Breath of the Mediterranean" is a biased choice.

Highlighting the Mediterranean Sea  litterally speaking but also , more generally , Mediterranean Culture , motivated this approach of Gérard Garcin ( as a flautist ).

To make meaning out of this Mediterranean mosaic , "The Word "  passed on via Literature and Poetry also seemed to me important and complementary.

This matching of Text /Music developped in "Nessym" has been mainly thought of, to be programmed in "Médiathéques"or be attached to their activities.

The programme of concerts proposes a double interlinking :

- traditional contemporary Tunisian music, or of a composer born in Alep , with a European musical creation; their only common point being their life around the Mediterranean.

- musical works from the XXth  and XXIst centuries with Literature and Poetry .

If the musical repertoire is entirely dedicated to the contemporary creation , the writers or poets chosen represent Mediterranean Culture from Antiquity to Present Time.

Non exhaustive list as an example

Texts and Poems after:  Adonis, Tahar Bekri, Mohammed Bennis, Cervantès, Shirin Ramzalani Fazel, Frederico Garcia Lorca, Nazim Hikmet, Raphaël Monticelli, Yannis Ritsos, Sylvie Nève, Cécile Oumhani, Amina Saïd,, Habiba Djanine,....

Musical repertoire: Elizabeth Bossero, Gabriella Cecchi, Georges Couroupos, Maité Erra, Ahmed Essyad, Franco Donatoni, Jean-Jacques Di Tucci,, Alain Fourchotte, Joan Guinjoan, Goffredo Petrassi, Christobal Halfter, Lucie Prod'Homme, Michel Pascal, Salah Mahdi, Dia Succari,.........

January,18 2019 : Mémorial du Camps de Rivesaltes
February, 9 2019 : Médiathèque François Mitterrand - Sète
February, 22 2019 : Festival Prospective XII – Perpignan
March, 28 2019 : Mémorial du Camp de Rivesaltes
April, 19 2019 : Mémorial du camp de Rivesaltes
Autumn 2020 : Médiathèque des Carmes -Pertuis

Creations of  Lucie Prod’homme, Gabriella Cecchi,
Michel Pascal, Jean-Jacques Di Tucci, Dominique Lievre, Gérard Garcin.


Trilogy dedicated to Georges Petit

Albi – « Le frigo »
April, 26 2019

For several wind-instruments, saxophones and audio support.

For the saxophonist and improviser Georges Petit.

Without neglecting in any way his saxophones  , Georges Petit has been developing for years a genuine craftsmanship by reinventing traditional instruments very often evoking the Mediterranean countries.

Tubos” aims to make the most of the world  of sounds that Georges Petit has thus explored.

"Recceto" is the title of the first part of this trilogy.


Theâtre de Douai
May 27,28, 2019

commissioned by the Conservatoire à Rayonnement Régional de Douai.

Symphonic orchestra, conductor Jean-Charles Benthowski
 Harmony orchestra, conductor Georges Mouy
Students of the Music, Dance, and Drama Departments of the  CRR.
Choreography, staged by Aude Schmitter, Loïc Salliot, Daniel Cling

« La sonnerie des Gayants »
(The call of the Gayants)
Suite for brass quintet

In reference to the cultural heritage of Douai, this suite for different brass ensembles from the traditional quintet to the brass orchestra, was composed after the mode of limited transposition dear to Olivier Messiaen. The "sonneries" will be played as a call of the audience at the beginning of each part of the concert. The spatialization of musicians in the theatre will enable the audience to feel surrounded by sounds.

« Elzeard »
Symphonic poem after « The man who planted trees »
by Jean Giono-Editions Gallimard

Suggested by the Drama Department of the CRR, the choice of "The man who planted trees" by Jean Giono could not but please G.Garcin who already composed after J.Giono's works (famous writer from Provence). The text is the "Ariane's thread" of the composition including passages of narrative only, interaction, more or less strict, between text, music and dance, cadential passages when musician and narrator act as a duo.
No dramaturgy in "The man who planted trees" but a plea for Nature and people who inhabit it, and especially Elzéard, hero of this ecological tale, who gave his name to this creation.

« Les deux ailes de l'âme »
(The two wings of the soul)
Concerto for a grand harmony orchestra.
After « Euphonia » by Hector Berlioz

Inspired by the memoirs of H. Berlioz, this adaptation of "Euphonia" treats in a parodic way the fiction of the famous composer who described an ideal City of Music in 2344. This crazy dream of the composer of the "Fantastic Symphony", and writer of the first treaty of orchestration, may probably lead us to question ourselves to day.
The musical score is used in the way of a concerto for orchestra in which the highlighting of each section structures the work. But dance and theatre interact in the musical language emphasizing the desired burlesque effect. The spectator is then free to imagine his own fiction or to draw a parallel with our time.


Work in progress

New version for the 50th anniversary of J.Giono's death

« Pan, maître de Lure »

 “Tryptique” for Jean Giono

Trio for flautist  playing percussion
Narrator playing recorder
Cellist making sounds with objects


« La voix des monicas »

Version for flute and tape
Version for flute and narrator


« Fortis est ut mors dilectio »
(L'amour est fort comme la mort)

 After le « Cantique des Cantiques »
Six voix voices and organ

In spite of the ambiguïti of profane or sacred text, The "Song of Songs" is one of the books included in the first polyglot Bible, printed in the beginning of the XVI th century. Its origin is however earlier. The reference to King Solomon, to places next to the Dead Sea,enabled historians to date it back to 500 years before our Era.
From its Hebraic source, emerged several metamorphoses due to various translations and comments through centuries. This multiplicity gave to this "Book" a preponderant role, which led some specialists to prefer the expression " The Book of Books" or " Poem of Poems" or "Song of Songs". "Fortis est ut mors dilectio ", tries to compare the different Hebraic, Greek, Latin versions and the interpretations proposed by four French translations.
The purpose is no longer a duality profane / sacred but articulates itself on the multiplicity of languages and their own music.

The project.

As a young "globe-trotter musician", I have always had a passion for arriving in a country the language of which I either badly knew or even not at all. The words we hear then become music.
When confronted to the Hebraic or even Greek languages, it revives my memories of that time.
The various French translations result of each translator's sensibility; my interpretation consists in acting as a filter.
My search for sonorities of languages, their intermixing, adds up to the poetry of this text.
While " re-reading" the "Song of Songs" I intend to lead the audience through a mosaïc of sounds generously offered to us by the different languages.
French language gives us essential points of reference. It's particularly true for the "Shulamite" a young woman from the village of Shulam. We can notice that in the history of literature, this text gives a leading role to a woman. The "Shulamite" is probably the first woman to be treated as a subject in the world literature.
This "Beloved woman" is in fact the main character of the story. That's why the role is given to a spoken female voice.
The voice of her "lover" (bass-voice) emerges from the vocal ensemble, acting as a "coryphaeus" and reflectig the singing echo of the story of he two lovers.



« Montezuma à Venise ou le miroir des mondes »
a « uchronical »  opera

Opera based on the literary work by Alejo Carpentier «  Concert Baroque »

Libretto:Ricardo Montserrat

 Meeting  Ricardo Montserrat, writer and librettist, as much interested as I was  in this writer, led me to “ actually do it “ and to take into consideration a total “ re – reading” or even more a rearrangement.

When one reads the literary work of the Cuban writer whose knowledge of the European culture is flawless, one tends to say that the word “baroque“ is insufficient.

As well as the comical side of the story, the historical approach,  underlying but essential, the time-lags, backwards and forwards in time, are the basic facts generating a form very close to musical writing, in which life and death are “ leit-motiv” acting as a” time – factor”.

Project :

The search of a language using all the forms of a theatrical language from narrative to lyric singing in all its approaches.

--“Baroque “side : developed in the setting of an opera.

The musical arrangement giving support to the stage-acting played by “a l’ inglese “ instruments taught by Vivaldi at the “Ospedale de la Pieta,” in contrast with modern instruments, but reminding the Cuban and Latin-American culture, such as the bandoneon.

--Vocal casting : a voluntarily wide choice of types of voices.
 -Male voices for the parts of Montezuma, Haendel, Scarlatti.
-A counter- tenor  for Vivaldi.
-A  female voice (alto or mezzo) for Francisquillo ( manservant 1)
-A lyric voice coming from traditional musics for the part of Filomeno ( manservant 2)
-A  women’s choir   in the scene  at “ the Ospedale de la Pietà “ in which the Priest Antonio Vivaldi introduces the orphans , pupil-musicians of the “ Maestro” :

Cattarina del Cornetto…..Bettina della viola all’inglese…
Bianca Maria Organista…Margherita dell’arp dopio…
Giuseppina del chitarone….Claudia del flauto…
Lucietta della violetta inglese….

 As well as in the hospital scene , the choir  also acts as a”coryphaeus “ taking turns with manservant 1.
 Several supporting roles  are also  cast to members of the choir.
In order to achieve an alchemy of voices, the vocal mass it represents, is combined with the instrumental writing.

“Reading and reading …off”

The meeting of Vivaldi , Haendel ,Scarlatti , Stravinski , Armstrong  is also  a new musical story resulting in contemporary rearrangement, leading the audience to recognize or find out some quotations or borrowings……

Creation : season 2020 / 2021
Opéra du Grand Avignon (Executive Producer)