For her first solo creation, Delphine Deau sets herself a major challenge: reimagining Renaissance works on prepared piano. The music of the English lutenist John Dowland, a real “coup de foudre” of recent semi-finished years, inspired her to create a work for solo piano. Around the “lute songs” written between 1597 and 1603, the pianist creates a space for free improvisation, far from her quartet habits where the drums propel the dance. Here, the space is different, time is suspended, and the textures of the prepared piano blend with Dowland's melodic power to extract all its poetry. With such limpid writing, John Dowland's pieces could almost be likened to jazz standards, with melody and harmony given over to the performer. Rather than staying within a framework of improvisation, Delphine opts for deconstruction to open up the playing space. These moments, both lyrical and rhythmic, are supported by the harmonic richness of the tools added, such as coins, screws, clothespins, safety pins... In this world of sound, form only appears when it becomes necessary, and we then catch a glimpse of melody in the bend of a soaring left hand or in the bell-like sounds of a transformed string. As well as becoming an augmented instrument, the piano is also deliberately brought back to its innermost nature: percussion!JAZZICS - Jazz meets classicalEvery Sunday afternoon, 38Riv offers a unique program celebrating the meeting of jazz and classical music. From a revisiting of the great repertoires, to a meeting of instruments from different eras, to improvisational explorations, this new rendezvous creates unprecedented bridges between musical worlds.The event is accompanied by a gourmet menu featuring coffee, tea, lattes, cocktails and pastries....
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For her first solo creation, Delphine Deau sets herself a major challenge: reimagining Renaissance works on prepared piano. The music of the English lutenist John Dowland, a real “coup de foudre” of recent semi-finished years, inspired her to create a work for solo piano. Around the “lute songs” written between 1597 and 1603, the pianist creates a space for free improvisation, far from her quartet habits where the drums propel the dance. Here, the space is different, time is suspended, and the textures of the prepared piano blend with Dowland's melodic power to extract all its poetry. With such limpid writing, John Dowland's pieces could almost be likened to jazz standards, with melody and harmony given over to the performer. Rather than staying within a framework of improvisation, Delphine opts for deconstruction to open up the playing space. These moments, both lyrical and rhythmic, are supported by the harmonic richness of the tools added, such as coins, screws, clothespins, safety pins... In this world of sound, form only appears when it becomes necessary, and we then catch a glimpse of melody in the bend of a soaring left hand or in the bell-like sounds of a transformed string. As well as becoming an augmented instrument, the piano is also deliberately brought back to its innermost nature: percussion!JAZZICS - Jazz meets classicalEvery Sunday afternoon, 38Riv offers a unique program celebrating the meeting of jazz and classical music. From a revisiting of the great repertoires, to a meeting of instruments from different eras, to improvisational explorations, this new rendezvous creates unprecedented bridges between musical worlds.The event is accompanied by a gourmet menu featuring coffee, tea, lattes, cocktails and pastries.
Pour sa première création en solo, Delphine Deau se lance un défi de taille : réimaginer des œuvres de la Renaissance sur piano préparé. Véritable coup de foudre de ces dernières années semi-confinées, la musique du luthiste anglais John Dowland lui inspire une création pour piano solo. Autour des "lute songs" écrites entre 1597 et 1603, la pianiste se crée un espace d’improvisation libre, loin de ses habitudes en quartet où la batterie propulse la danse. Ici l’espace est différent, le temps est comme suspendu et les textures du piano préparé viennent se mêler à la puissance mélodique de Dowland pour en extraire toute la poésie. D’une telle limpidité dans l’écriture, les pièces de John Dowland pourraient presque s’assimiler à des standards de jazz avec une mélodie et une harmonie offertes à l’interprète. A défaut de rester dans une improvisation cadrée, Delphine fait le choix de la déstructuration pour amener une ouverture dans l’espace de jeu. Ces moments à la fois lyriques et rythmiques, sont portés par la richesse harmonique des outils ajoutés tels que des pièces de monnaies, vis, pinces à linge, épingles à nourrice… Dans cet univers sonore, la forme apparaît seulement quand elle devient nécessaire et on entrevoit alors la mélodie au détour d’une envolée de main gauche ou dans les sons de cloches d’une corde transformée. En plus de devenir un instrument augmenté, le piano est aussi volontairement ramené à sa nature profonde : une percussion !JAZZICS — Jazz meets classicalLe 38Riv propose une programmation unique chaque dimanche après-midi qui célèbre la rencontre entre jazz et musiques classiques. Entre revisite des grands répertoires, rencontre d’instruments des différentes époques, explorations improvisées, ce nouveau rendez-vous crée des ponts inédits entre les mondes musicaux.Événement accompagné d'une carte gourmande : café, thé, latte, cocktails et pâtisseries.
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