I. Georges de La Tour (1593-1652) / Le Vielleur (1620-1625) choeur à 3 voix égales
II. Vassily Kandinsky (1866-1944) / Milder Vorgang (1928) jeux vocaux graphiques
III. Paul Baudry (1828-1886) / Charlotte Corday (1860) choeur à 2 voix égales et récitant
IV. Jesus Rafael Soto (1923-2005) / sans titre (1971) jeux vocaux parlando ritmico
V. Eugène Isabey (1803-1866) / Naufrage du trois-mâts « l’Emily » (1823) Leon-François Comerre (1850-1916) / Le déluge (1911) choeur à 3 voix égales
VI. Gustave Courbet (1819-1877) / Les cribleuses de blé (1854) choeur à 3 voix égales
VII. Orazio Lomi Gentileschi (1563-1639) / Diane chasseresse choeur à 3 voix égales
VIII. Jean Hélion (1904-1987) / Nature morte à la citrouille (1948) jeux vocaux parlando ritmico
IX. Jacqueline Marval (1866-1932) / La grande plage de Biarritz (1923) choeur à 3 voix égales
Commissioned for middle-school students, this suite of short a cappella pieces is inspired by 9 paintings encountered in the renovated galleries of the art museum of Nantes.
The goal of this walk is not only to frequent great painters but to deploy around these prestigious paintings, a choral writing drawing its resources and references in some recognized currents: popular music, minimalist music, passacaglia, vocal games, graphics and even an ounce of improvisation.
Often with three voices, these opus were written exclusively in a capella with the intention of introducing these young singers to the pleasure of carving and then cultivating a choir sound, to apprehend the virtues of harmony while leaving to escape beyond a few mischievous reciters.
Of course, if the sounds edifice is pitching, if the balance between voices bends, if the pitchness accuracy is tarnished, some instruments can be added while ensuring the tessitura homogeneity and the various stylistic relationships obtained.
Thus it will be preferable to choose strings for "Le vielleux", a few brass for "Charlotte Corday", bass octaves (D-A, stubborn cadence) distilled on the piano for "Le Naufrage", three instruments with contrary tones for each line of "Les Cribleuses", why not a bass guitar to whip the rhythm and drone of alti in "Diane", and a wink to the limonaire on "La grande plage de Biarritz".
A few percussionists can be invited to improvise on the repetitive cells of "Soto" and at the end inviting to mix all the instrumentalists crossed in the classes to inflate, to excess, the graphics in "Hommage à Kandinsky".
The order of the paintings / songs is free and depends on the desires of the conductor. Breaks of style would rather be chosen.