Des Colosses aux Pieds d’Argile : Interview avec Sophie Deshayes, Curatrice de Lucilin in the City #14

For contemporary music enthusiasts and anyone with an urge to explore new experiences, the latest concert by the United Instruments of Lucilin ensemble showcased the creativity of composers constantly pushing the boundaries of music by exploring new sounds. From the depths of Fellner Contemporary’s cellar, we journeyed through autumnal forests with Beat Furrer, witnessed Noriko Baba’s birds freely soaring through the air, and were left breathless, suspended by Helmut Lachenmann. Let’s revisit the event with Sophie Deshayes, flutist of the United Instruments of Lucilin ensemble and curator of the event.

How did this concert come about, and what inspired the choice of this theme?
This concert took shape from the desire to interpret Helmut Lachenmann’s « temA. » Written in 1968, « temA, » for voice, flute, and cello, is one of Lachenmann’s most striking works. We chose to bring together a corpus of works here, all centered around voice, flute, and cello, that question Berlioz’s phrase « Every sonorous body set in motion by the composer is a musical instrument, » which remains highly relevant. The concert presented a diverse range of works by contemporary composers.

Could you tell us more about this diversity and its impact on the musical experience?
Each composer featured in the concert brought a unique perspective. From Beat Furrer to Noriko Baba, Iris ter Schiphorst, and Helmut Lachenmann, the program offered an eclectic exploration of contemporary music, providing a nuanced palette of styles and artistic approaches. Furrer’s composition, set to a poem by Friederike Mayröcker, resonates with a process of linguistic experimentation, observation, and narration, reminiscent of Lachenmann’s. The piece aims to ensure that the recited text remains understandable. Iris ter Schiphorst’s « Changeant, » a theatrical piece for voice and CD accompaniment, focuses on capturing moments of a woman’s day in different languages. Each language can be associated with a mood or state of mind. For Brice Pauset, the instrument, its playing techniques, and the forms in which it unfolds signify their historicity. In « Eurydice » for solo flute, we witnessed the moment where the constraints compel a choice between different solutions.

One of the highlights of this concert was the performance of Helmut Lachenmann’s work « temA. » Could you tell us more about this piece and its significance in the context of contemporary music?
Helmut Lachenmann’s « temA » is an emblematic piece that perfectly embodies the concept of « instrumental concrete music. » This work fascinatingly explores the sonic possibilities of traditional instruments. Its inclusion in the program underscores its importance in the evolution of contemporary music and its influence on today’s composers.

You premiered three short pieces by Noriko Baba. What prompted you to commission these pieces, and what was their contribution to the overall experience?
It was the great poetry of her music that prompted us to commission her. Noriko Baba develops a language focused on noise, transience, and shadow. By diverting the instrument from its usual use through specific playing techniques, she aims to change its appearance and lead the listener into the realms of dreams. The three pieces she composed for the occasion: « Garrulus, » « Larus, » and « Muscicape, » are a new opus for Noriko Baba’s Bestarium Musicale series. Three birds, personified and humorously and poetically diverted by the sounds of flute and cello. The next work in this series written for orchestra will premiere in 2025 at the Cité Musicale de Metz.

This concert was an exploration of the boundaries of contemporary music guided by a passion for musical innovation. Congratulations to Sophie Deshayes, Ingrid Schoenlaub, and Salome Kammer for this extraordinary performance!

The adventure continues!

LUCILIN IN THE CITY#15: DAS MALERISCHE LUXEMBURG
Saturday, May 4th at 4:30 PM
Casino Luxembourg
Want more? Our next concert in the series of independent concerts will be a live music cinema, like a stroll through the Luxembourg of yesteryear. Between archival films selected by Paul Lesch and pieces by contemporary composers performed by the United Instruments of Lucilin, the contrast is masterful but above all poetic.
Free entry, but remember to reserve your seat: reservation@lucilin.lu

Photos: © Alfonso Salgueiro