Intégrale 3
Brice Pauset uses the idea of perspective in several domains of his works for piano: perspective connected to techniques from the past—like that of the medieval cannon—as well as the perspective between writing and performance. During the execution of Perspectivae Sintagma, the pianist’s performance is constantly compared to an ideal, geometric score stocked in the computer. With his 5th sonata, contemporary to Poème de l’extase, Scriabine gives up the form with several movements and his harmonic language is structured around a generating chord. This unification is explored until his 7th sonanta, White Mass, the composer’s favorite.
Momo Kodama piano
Lorenzo Soulès piano
Eric Daubresse, Olivier Pasquet IRCAM computer music design
ALEXANDRE SCRIABINE SONATE POUR PIANO N° 5 OP. 53 ; SONATE POUR PIANO N° 6 OP. 62 ; SONATE POUR PIANO N° 7, « MESSE BLANCHE », OP. 64
BRICE PAUSET PERSPECTIVAE SINTAGMA I
Interview by Momo Kodama, pianist
Festival Intégrale
Intégrale is the new festival created by IRCAM and La Scala Paris. This first edition navigates through the universe of Scriabine’s sonatas echoed by works for piano and electronics by living composers. Intégrale is both a dive into the acoustics of La Scala Paris equipped with a unique sound system, a dive into the fleeting corpus of a composer—Scriabine—a rediscovery of great works produced at IRCAM, and the adventure of a new generation of performers, finding accomplishment in both the repertoire and contemporary creation.
1872-1915, the short existence of Alexandre Scriabine never hinted at a life of invention during a time of revolutions. Infatuated with synesthesia and mysticism, Scriabine used piano sonatas as a crucible for his harmonic and formal research, from his first post-romantic pieces until his black and white masses that were his final works.
