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Article des DNA (Dernières Nouvelles d'Alsace) du 24/05/23, sur la reprise du Medley de valses par l'ensemble Les musiciens de Strasbourg :

"Du menuet au tango, en passant par la valse-swing, dans laquelle un medley - musette donne à l'accordéon ses lettres de noblesse, un duo d'arrangeurs talentueux - Gaël Lozac'h et Hervé Jamet - ont réécrit les partitions d'origine avec beaucoup d'astuce, donnant à entendre un répertoire plus ou moins connu dans un jour radicalement nouveau. Le résultat est abouti et équilibré.

https://www.dna.fr/culture-loisirs/2023/05/24/le-sextuor-des-musiciens-de-strasbourg-entre-danse-et-swing

Articles sur le ciné-concert à Atlanta :

By DOUG DELOACH Friday November 1, 2019 01:14 pm EDT

Original silent movie scores

 

Watching a classic silent film requires a slightly altered state of mind. The use of title cards for dialogue and narrative exposition sparks a different set of synapses than is employed for a conventional movie, while a heightened attentiveness to mise-en-scène is sometimes necessary to fully comprehend the subtler aspects of the unfolding drama. Then there is the musical accompaniment to consider.

 

A century or so ago, standardized practices for supplying music for films was nonexistent. To produce suitable cinematic accompaniment, soloists (usually a pianist or organist) and small ensembles drew from a mixed bag of vaudeville tunes, popular songs, orchestral works, and some original compositions. In many cases, the music was improvised on the spot, opening up a window for experimentation and innovation.

 

In the 21st century, a renewed interest in silent cinema preservation spawned a spate of screenings with live musical accompaniment, which in turn inspired a small subset of contemporary musicians and composers to channel their artistic impulses into this rarefied realm.

 

 

Cue “Changing Score: Classic Films Reimagined,” a presentation by Georgia Tech Arts, scheduled for Friday, November 15, at the Ferst Center for the Arts. This special concert/screening features segments from legendary silent filmmakers Charlie Chaplin, Buster Keaton, Harold Lloyd, and Jean Renoir accompanied by original scores from French composer Gaëll Lozac’h performed by the Georgia Tech Symphony Orchestra under the direction of Dr. Chaowen Ting. The program includes clips from Chaplin’s The Vagabond (1916), Keaton’s The Haunted House (1921), Lloyd’s Safety Last! (1923) and Renoir’s La Petite Marchande d’Allumettes (The Little Match Girl) (1928).

Since 2008, Lozac’h has been composing for silent films in conjunction with the Orchestre des Pays de Savoie, the Orchestre du Lycée Janson de Sailly and the Orchestre du conservatoire de Bourg-la-Reine. He has recorded soundtracks for Lobster Films, a Paris-based distribution company specializing in early cinema.

 

“Lozac'h's scores are wonderful treats, clean and compact with elegant melodic lines often accompanied by light orchestration lending energizing pulses,” says conductor Ting. “He combines a wide range of styles from the baroque to contemporary in a true demonstration of the past re-imagined in the now.”

 

Same as it was a century ago, performing a “live” film soundtrack calls for a different set of skills by members of the Georgia Tech Symphony Orchestra, who are trained to play Beethoven symphonies by the book.

 

“The biggest challenge for the orchestra is to match certain musical moments with the film, such as a gunshot, an object falling, or a jumping Jack-in-the-Box toy,” Ting says. “We spent much of the rehearsal practicing those moments to make sure the timing was as accurate as possible. It's been a great training experience, which will enhance the orchestra’s overall musicianship and ensemble skills.”

 

“Changing Score: Classic Films Reimagined.”  For tickets at $15-$25, 8 p.m. Fri., Nov. 15. Ferst Center for the Arts at Georgia Tech, 349 Ferst Drive N.W. 404-894-9600.

https://creativeloafing.com/content-464677-LISTENING-POST-Bent-Frequency-bends-toward-adventurous-chamber-music?fbclid=IwAR1wYqrYuQYCx4tIdYzyGc28O1D-cw4-4t_pmENxwStaMKHFkC4T_l3rX7c

Articles sur la sortie du CD Ex Tenebris :

Recension d'Edith Weber dans la revue L'Education musicale 2019

Revue Musique sacrée, l'organiste, avril 2019

Article de François-Xavier Lacroux dans la revue France catholique du 29 mars 2019, No 3626

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