L’oreille Voleuse
« Non, sans écouter aux portes,
L'oreille capte ici et là des bruits et des sons inattendus sans choix, mais reste attentive aux messages de chacun captés au fil des ans. Elle recueille surprises et impressions, les rassemble dans un simple mélange.
En réveillant à nouveau les souvenirs de l'oreille, qui ont pour la plupart été enregistrés sur des bandes magnétiques, je suis très heureuse de la complicité d'Eiko Ishibashi et de Jim O'Rourke dans ce mixage participant à ce concert. »
Brunhild Ferrari (2024) - durée 20’13”
Le Piano Englouti (2012) - version avec Jim O’Rourke
« Les lieux se succèdent sans rapport apparent entre eux. Ce sont pourtant ces contrastes qui sont mes liens entre les différents éléments et moments. J’ai enregistrés ces sons avec un intervalle de 14 ans. En 1996, ce fut dans une île grecque quasiment avalée par sa bruyante Mer Egée et, en 2010, dans une très discrète et silencieuse ile japonaise. Ce sont aussi ces puissantes vagues de mer égéenne et ces vagues de pachinko finissant par engloutir un piano fou.
Comme parfois après une création, l’écoute dans un nouveau lieu suscite d’autres idées ; d’autres désirs viennent. Cela m’est arrivé et j’ai recomposée une bande destinée à l’origine à accompagner un piano pour en faire une pièce pouvant tenir sur ses propres pieds. »
Réalisé à l’atelier post-billig - durée 17’42''
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[EN]
The Thieving Ear
No, without listening at doors,
« The ear captures noises here and there and unexpected sounds without choice, but remains attentive to the messages of each one picked up over the years. It gathers surprises and impressions, bringing them together in a simple mix.
In waking up these ear memories again, which were mostly recorded on magnetic tapes, I am very happy about the collaboration of Eiko Ishibashi and Jim O'Rourke in playing on this mix tape in the concert tonight. »
Brunhild Ferrari (2024) - duration 20’13”
Pareidolia
Eiko and Jim will also perform their duet Pareidolia - duration between 40' and 50'.
Le Piano Englouti (2012) - version with Jim O’Rourke
« The places succeed without apparent relation between them. Yet just these contrasts are my links between the different elements and times. I recordedthe sounds with an interval of 14 years. In 1996, it was in a Greek island almost swallowed by its noisy Aegean Sea, and in 2010, in a very discreet and silent Japanese island. There are also the powerful waves of Aegean sea and the pachinko waves ending in swallowing a fool piano.
As sometimes after a first performance, listening in a new place gives rise to other ideas; other desires come up. That's what happened to me and Irecomposed a tape originally intended to accompany a piano to make it a piece that can stand on its own feet. »
Produced at atelier post-billig - duration 17’42''
Brunhild Ferrari
« Like most of my fellow human beings, I was born, I grew up, I attended schools, I passed exams, I failed, I loved, I worked hard sometimes, I enjoyed life; I continue. I worked with Pierre Schaeffer in the ORTF research department on the relationship between sound and image. Of German origin, I have had an activity as an interpreter and translator. Following Luc Ferrari's advice in matters of life, music, and composition, and working with him over the course of our 40 years together, I made my own Hörspiele and radio plays broadcast on France Culture, in the United States, and the main German radio stations. Since Luc left us in 2005, I have taken care of the preservation of his vast archives; founded the Association Presque Rien - Friends of Luc Ferrari ; initiated and organized the biennial competition PRESQUE RIEN Prize by providing artists with original sound material from Luc's sound recordings; and edited a book of his writings and documents (Musiques dans les spasmes, published by les Presses du Réel, France) as well as one more book in English together with Catherine Marcangeli (Luc Ferrari: Complete Works, published by Ecstatic Peace library). I composed music; I continue. »
Eiko Ishibashi
A Japanese composer, singer, and multi-instrumentalist, Eiko Ishibashi creates a distinctive body of work that bridges experimental pop, improvisation, and film music. Known for her expressive intensity and sensitivity to sound textures, she has collaborated with many international musicians, including Jim O’Rourke, with whom she maintains a long-standing duo. She is also the author of several acclaimed film scores, notably for Ryūsuke Hamaguchi (Drive My Car, Evil Does Not Exist), which have brought her music to wider international attention.
Jim O'Rourke
An American composer, producer, and multi-instrumentalist, Jim O’Rourke has been a key figure in experimental and independent music since the 1990s. His work spans rock, improvisation, electronic, and contemporary music. A former member of Sonic Youth and collaborator with artists such as Wilco, Gastr del Sol, and choreographer Merce Cunningham, he has also released numerous solo albums and film scores. Based in Japan since the early 2000s, he continues to pursue a wide-ranging musical practice, balancing formal rigor with inventive freedom.
[INFOS PRATIQUES]
jeudi 9 octobre 2025 - 20h
