Sheng! L'orgue à bouche - 12th seminar

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Analyse comparée de quelques interprétations du « Phénix déploie ses ailes » Fènghuáng zhǎnchì (鳳凰展翅) 1956 avec François Picard (Sorbonne Université - IReMus) *Musicienne du sheng invitée  Li Li-Chi After the collective presentation at the 23rd CHIME meeting, Prague, Czech Republic, ‘Chinese Music and Memory’ 3-7 September 2020, Institute of East Asian Studies, Charles University, François Picard will focus this time on Hu Tianquan 胡天泉 and Dong Hongde董洪德 : Fenghuang zhanchi 鳳凰展翅 (Phoenix Spreading Wings) for sheng, 1956, one of the first and most influential pieces of the solo repertoire, after a first study of an other main piece, Yan Haideng阎海登, Jin diao 晉調 (Shanxi Tune) for sheng, 1960 Argument The purpose of the sheng ! pannel is to present the collective work of an interdisciplinary, international program on 笙 mouth organ. This program, coordinated by Liao Lin-Ni 廖琳妮 for Sorbonne Collegium musicæ, associates instrumentalists (Wu Wei 吴巍, Huang Lung-yi 黃朧逸, Li Li-Chin 李俐錦, Yamamoto Tetsuya 山本哲也, Véronique de Lavenère, Véronique Brindeau, Suzuki Seiko 鈴木聖子 …), composers, researchers and professionals in culture, acoustics (Gérard Caussé from IRCAM), and musicologist from various horizons and various generations. Between an historical and organological research on the traditional 17-tube instrument and the improved 36 or 37-tube instrument and the future elaboration of a chart and multimedia tools for composers to write new pieces for the instrument, the focus this time is to combine various approaches to performance studies, based on two of the most influential pieces of the solo repertoire : A set of performances, including oldest and most recent recordings, has been compiled and will be confronted from different perspectives, including sound and recording techniques, the instruments involved and the playing techniques, the history and transmission of the pieces through discs and scores, dynamics, range, clarity of the voices, articulations, and impact on specialists and audiences Japanese shō and the master of contemporary repertories, Naoyuki Manabe (真鍋尚之) with Mikako Mizuno (Nagoya City University) Shō, as a Japanese free reed musical instrument, is the sole instrument of gagaku that makes chordal sounds. Two of the 17 bamboo pipes of shō have no reeds, making no sounds. The instrument should be physically supported by the two hands while playing, and traditionally the middle and the ring fingers of the right hand are fixed onto the silent bamboo mo during the whole performance. Both of the little fingers are not used. Basically one finger can push only one bamboo hole, which means one finger can be mapped onto one pitch. The hole(about 2mm in diameter)should be precisely held, and the transfer from some hole to the other is extremely difficult even though the opposite direction is relatively easy and smooth. Contemporary shō master player Naoyuki Manabe has realized a lot of virtuoso fingering and breathing for playing contemporary repertoires. He himself composed duos for shō and koto (17-string), violin, contrabass, and percussions as well as shō solo pieces. He performed as a soloist, in a lot of festivals and concerts in the world including März Musik Berlin 2012(Germany), Romernischer Sommer 2013 (Köln), International Eurasia Music Festival in Ekaterinburg 2013 (Russia), The Krasnoyarsk international festival of chamber music 2016 (Russia) etc.   Table Ronde « shō et sheng », traduit par Alexis Baskind en direct with Wu Wei (maître du sheng) <img src="/media/uploads/lignejaune-100x2.png" alt="" width="100" height="3" /> <h2>Upcoming seminars</h2> <h3>13th seminar | March 15, 2022, 2:30-5:30pm</h3> Fallings pour shō (et u), alto et violoncelle de Daryl Jamieson : l’expression d’une pensée interculturelle avec François-Xavier Féron (CNRS,  Ircam-STMS) Shō and u: An exploration of physical and generic limitations through a decade of collaboration with Ko Ishikawa avec Daryl Jamieson (Kyushu University) <h3>14th seminar | April 19, 2022, 2:30-5:30pm</h3> Une forêt de tuyaux - Retour(s) sur une création avec Alexis Baskind - Wu Wei - André Serre-Milan <h3>15th seminar | May 10, 2022, 2:30-5:30pm</h3> Le fleuve de sons, analyse des modulations et masquages dans les accords du sheng avec Mikhail Malt (Ircam-STMS, IReMus) La visualisation des données pour la musicologie avec Pierre Couprie (CHCSC, Université Paris-Saclay)

Analyse comparée de quelques interprétations du « Phénix déploie ses ailes » Fènghuáng zhǎnchì (鳳凰展翅) 1956
avec François Picard (Sorbonne Université - IReMus)
*Musicienne du sheng invitée Li Li-Chi

After the collective presentation at the 23rd CHIME meeting, Prague, Czech Republic, ‘Chinese Music and Memory’ 3-7 September 2020, Institute of East Asian Studies, Charles University, François Picard will focus this time on Hu Tianquan 胡天泉 and Dong Hongde董洪德 : Fenghuang zhanchi 鳳凰展翅 (Phoenix Spreading Wings) for sheng, 1956, one of the first and most influential pieces of the solo repertoire, after a first study of an other main piece, Yan Haideng阎海登, Jin diao 晉調 (Shanxi Tune) for sheng, 1960
Argument

The purpose of the sheng ! pannel is to present the collective work of an interdisciplinary, international program on 笙 mouth organ. This program, coordinated by Liao Lin-Ni 廖琳妮 for Sorbonne Collegium musicæ, associates instrumentalists (Wu Wei 吴巍, Huang Lung-yi 黃朧逸, Li Li-Chin 李俐錦, Yamamoto Tetsuya 山本哲也, Véronique de Lavenère, Véronique Brindeau, Suzuki Seiko 鈴木聖子 …), composers, researchers and professionals in culture, acoustics (Gérard Caussé from IRCAM), and musicologist from various horizons and various generations. Between an historical and organological research on the traditional 17-tube instrument and the improved 36 or 37-tube instrument and the future elaboration of a chart and multimedia tools for composers to write new pieces for the instrument, the focus this time is to combine various approaches to performance studies, based on two of the most influential pieces of the solo repertoire :

A set of performances, including oldest and most recent recordings, has been compiled and will be confronted from different perspectives, including sound and recording techniques, the instruments involved and the playing techniques, the history and transmission of the pieces through discs and scores, dynamics, range, clarity of the voices, articulations, and impact on specialists and audiences

Japanese shō and the master of contemporary repertories, Naoyuki Manabe (真鍋尚之)
with Mikako Mizuno (Nagoya City University)

Shō, as a Japanese free reed musical instrument, is the sole instrument of gagaku that makes chordal sounds. Two of the 17 bamboo pipes of shō have no reeds, making no sounds. The instrument should be physically supported by the two hands while playing, and traditionally the middle and the ring fingers of the right hand are fixed onto the silent bamboo mo during the whole performance. Both of the little fingers are not used. Basically one finger can push only one bamboo hole, which means one finger can be mapped onto one pitch. The hole(about 2mm in diameter)should be precisely held, and the transfer from some hole to the other is extremely difficult even though the opposite direction is relatively easy and smooth.
Contemporary shō master player Naoyuki Manabe has realized a lot of virtuoso fingering and breathing for playing contemporary repertoires. He himself composed duos for shō and koto (17-string), violin, contrabass, and percussions as well as shō solo pieces. He performed as a soloist, in a lot of festivals and concerts in the world including März Musik Berlin 2012(Germany), Romernischer Sommer 2013 (Köln), International Eurasia Music Festival in Ekaterinburg 2013 (Russia), The Krasnoyarsk international festival of chamber music 2016 (Russia) etc.

Table Ronde « shō et sheng », traduit par Alexis Baskind en direct
with Wu Wei (maître du sheng)

Upcoming seminars

13th seminar | March 15, 2022, 2:30-5:30pm

Fallings pour shō (et u), alto et violoncelle de Daryl Jamieson : l’expression d’une pensée interculturelle
avec François-Xavier Féron (CNRS, Ircam-STMS)

Shō and u: An exploration of physical and generic limitations through a decade of collaboration with Ko Ishikawa
avec Daryl Jamieson (Kyushu University)

14th seminar | April 19, 2022, 2:30-5:30pm

Une forêt de tuyaux - Retour(s) sur une création
avec Alexis Baskind - Wu Wei - André Serre-Milan

15th seminar | May 10, 2022, 2:30-5:30pm

Le fleuve de sons, analyse des modulations et masquages dans les accords du sheng
avec Mikhail Malt (Ircam-STMS, IReMus)

La visualisation des données pour la musicologie
avec Pierre Couprie (CHCSC, Université Paris-Saclay)

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Co-Production Ircam et TPMC - Tout Pour la Musique Contemporaine. Avec le soutien de la Drac Ile-de-France, IReMus, CNRS, Collegium Musicæ, SACEM, CNCM-gmem et GVL-NEUSTART KULTUR.