SCALE TO SCALE
Farida Parveen & her musicians
Laurent Cuniot & French ensemble TM+
8 mars 2019
Dhaka Shilpakala Academy
(organized by Alliance française Dhaka)
9 mars 2019
Cox's Bazar Sayeman hotel
(organized with Caritas Bangladesh)
avec le soutien de United Commercial Bank limited
et Regent Airlines
12 mars 2019
Chittagong Radisson Blu
Avec le soutien de BSRM et Regent Airlines
19 mars 2019
Grenoble (France), Festival Détours de Babel
22 mars 2019
Nanterre (France), Maison de la musique
23 mars 2019
La Motte d'Aveillans, Festival Détours de Babel
24 mars 2019
Saint Antoine de L'Abbaye, Festival Détours de Babel
Farida Parveen, Chant, Harmonium
Gazi Adbul Hakim Flûtes
Asm Reza Dhol
Sheik Jalaluddin Dotara
Debendra Nath Chatterjee Tablas
Hadhoum Tunc, Soprano
Laurent Cuniot, Composition et percussions
Jean-Pierre Arnaud Hautbois
Nicolas Fargeix Clarinette
Florian Lauridon Violoncelle
Chants de Lalon et Mansour
Un Voyage de l’écoute musical et géographique dans lequel musique d’ici et maintenant et culture traditionnelle du Bangladesh se rencontrent, dialoguent, communient dans un même souffle.
Le Voyage de l’écoute est une croisière sans escales, un concert mené d’une traite, sans pauses ni applaudissements ni mouvements de musiciens entre les œuvres. Une expérience, une exploration où chacun, sur scène comme dans la salle, écoute le flux des temps voyager dans le paysage des climats.
Voyage au Bangladesh, écoute de la culture millénaire d’un pays neuf enraciné dans le delta fertile du Gange et du Brahmapoutre.
Rencontre des solistes occidentaux et des musiciens bangladais, écoute réciproque de deux univers sonores : la tradition orale de Farida Parveen, un chant de la structure et de l’extase, assis sur le raga indien au bord du vertige soufi ; l’écriture contemporaine de Laurent Cuniot, l’intensité d’un langage incendié par le lyrisme.
Écoute, confrontation entre le monde d’avant, celui de Lalon Shah, le fou, le fakir, l’icône du Bengale ancien – mort en 1890 à l’âge dit-on de 117 ans – après avoir inspiré l’humanisme de Rabindranath Tagore ; et la poésie, aujourd’hui, de Muhammad Mansur, avec ses espaces où s’engouffre l’imaginaire du compositeur.
Si le voyage de l’écoute estompe les frontières, il souligne en se frottant à l’autre, à son harmonie, à ses dissonances, la profonde singularité de chacun des univers. Échappant à la mode de la fusion tiède et du cross-over.
Présenté dans le cadre de « Bien Entendu ! Un mois pour la création musicale » – une manifestation de Futurs Composés, réseau national de la création musicale.
Disponible en tournée en France : 0033 (0)141 37 71 46
Coproduction TM+, Maison de la Musique de Nanterre, Alliance française de Chittagong, Festival Détours de Babel
Laurent Cuniot is one of the few French musicians to lead a dual career in composing and conducting.
His composing path has been shaped by various influences: he started out performing as a violinist, branched out to conducting, and then pursued electroacoustic music. After studying with Guy Reibel and Pierre Schaeffer, he took over the torch, and for the past twenty years has been teaching Composition with New Technologies at the Conservatoire de Paris.
Concurrently, he assumed the musical direction of TM+ in 1985 and has since been developing its artistic vision, positioning the ensemble at the forefront of today’s music. This constant interface between composing and conducting naturally strengthens his bond with the performers. His close collaboration with mezzo-soprano Sylvia Vadimova has
spurred him to compose various vocal works: the chamber operas Cinq Pièces pour Hamlet and Spring and All for mezzo and ensemble, as well as the opera for one voice Des Pétales dans la Bouche.
His music is fueled by the 20th century avant-gardes, and thus has an expressive thrust and a deep awareness of sound-colors.
Several of his works have received awards from the SACEM, such as Ombrae for oboe and ensemble, which was deemed the best contemporary instrumental composition in 2006, and was awarded the Tornov-Loeffler prize by the Académie des Beaux-Arts.
Mrs. Farida Parveen is one of the most prestigious singers in Bangladesh. With a solid foundation in Indian classical music, she has rendered remarkable services to raise the artistic status of traditional Bangladeshi music, Baul songs Mainly focused on Lalon Geeti or Sangeet by The Great Baul Gure Fakir Lalon Shah. Her contribution to raising the standing of Baul song and to promoting it internationally has been immense.
Mrs. Farida Parveen, one of the top singers in Bangladesh, has given new life to traditional Bengali Lalon Geeti or Sangeet. She has performed on numerous occasions on TV, the stage and in films also, and has been very active on the international stage.
Mrs. Farida was born in Natore in the western part of present Bangladesh and was brought up in Kushtia. She learned the Sargam (Indian musical scale) in her early childhood. At the age of 6, she became a pupil of a famous music master, the great Ustad Ibrahim, to learn classical music. When she became 13, she started to sing for Rajshahi radio station. In the Bengal region, mystic teachings about union between humanity and divinity have had a powerful influence on local daily life for centuries, and 'Bauls'? Mystic devotees who present these teachings in song as wandering minstrels - have played an important role. Among them, Fakir Lalon Shah was regarded as the most outstanding baul of the 18th and 19th centuries.
Mrs. Farida's encounter with Lalon's songs there led her to collect and classify a great many songs of his at the same time she started her singing career.
When she was at Rajshahi University reading Bangla literature, she established the foundation of her career by becoming a nationally popular singer with patriotic songs and songs of the Liberation War as well as Lalon's songs. She produced LP records, and sang for TV programs and films. In 1987, she received the Ekushey Padak (one of the highest civilian awards in Bangladesh), and in 1993, was given the National Film Award for Best Female Playback Singer. The high reputation that she has won has established her as one of the most prestigious singers in Bangladesh. Farida Parveen has been awarded the prestigious Fukuoka Asian Cultural Prize 2008. Fukuoka Prize was instituted in 1990 to honour the outstanding work of individuals or groups to preserve and create unique and diverse cultures of Asia.
Farida Parveen is the second Bangladeshi to be honoured with Fukuoka Prize. Dr Muhammad Yunus was awarded the Fukuoka Grand Prize in 2001. She has performed in many different countries, including France, the U.S., and Japan (2002), to introduce Baul songs to the world.