Pascal Zavaro
Les Empires de la Lune
for 2 groups of musicians without instruments
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Pascal Zavaro
Les Empires de la Lune
for 2 groups of musicians without instruments
- Formación Percusión corporal
- Compositor Pascal Zavaro
- Edición Partituras
- Editorial Gerard Billaudot
- Nº de pedido BILL10466
disponible en 4-8 días laborables
IVA incluido.,
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Descripción de la:
The musicians are divided in two equal groups of two to several dozen people each. The two groups face each other on stage.
Optional: each group may wear distinctive costumes or make-up.
The conductor- like ajudge and great Master -shall stand in the middle, with his/her back to the audience.
The movements follow one another without a break.
Ali sounds should be full and homogenous. Performers shall practice individually and collective/y to develop and improve such specific sound quality.
The piece does not require any singing at ail. The notes written on the staves represent the relative pitches of spoken language, or different ways of vocalizing, gesturing or performing body percussion.
During rests, performers keep focused and attentive -as if listening to what the Moon could say now and then.
In Toucher (Touch): perform body percussion on your own body, precisely as indicated on the score.
In Goûter (Taste): preferably mouth, tangue and swallowing sounds, corresponding to the indicated onomatopoeic words.
In Regarder (See): large/y silent. The musicians act like mimes and silent movie ac tors, with exaggerated attitudes ant gestures.
In Humer (Smell): focus on breathing sounds and airy sonorities, corresponding to the indicated onomatopoeic words.
In Écouter (Listen).- performers should find ways of making their concern and stress visible to the audience as they listen around, turning their heads towards the fiy loft, as if looking towards the Moon. This stage business is also a medley, a recap of ail previous attitudes and gestures.
Optional: each group may wear distinctive costumes or make-up.
The conductor- like ajudge and great Master -shall stand in the middle, with his/her back to the audience.
The movements follow one another without a break.
Ali sounds should be full and homogenous. Performers shall practice individually and collective/y to develop and improve such specific sound quality.
The piece does not require any singing at ail. The notes written on the staves represent the relative pitches of spoken language, or different ways of vocalizing, gesturing or performing body percussion.
During rests, performers keep focused and attentive -as if listening to what the Moon could say now and then.
In Toucher (Touch): perform body percussion on your own body, precisely as indicated on the score.
In Goûter (Taste): preferably mouth, tangue and swallowing sounds, corresponding to the indicated onomatopoeic words.
In Regarder (See): large/y silent. The musicians act like mimes and silent movie ac tors, with exaggerated attitudes ant gestures.
In Humer (Smell): focus on breathing sounds and airy sonorities, corresponding to the indicated onomatopoeic words.
In Écouter (Listen).- performers should find ways of making their concern and stress visible to the audience as they listen around, turning their heads towards the fiy loft, as if looking towards the Moon. This stage business is also a medley, a recap of ail previous attitudes and gestures.