Here,

Three ways of questioning the place of the performer, his relationship to the composer.

Three ways to connect with sound...

Here,

Breaths and voices joyfully hybridize,

There remains a trace, light, ephemeral,

Singular.

Kintsugi, Fabien Cali (2018)

Piece for solo soprano saxophone and improviser. ad. Libitum.

Kintsugi, this ancestral Japanese technique which consists of repairing a broken object by highlighting its cracks with gold. This is the poetic idea that drives this piece created in 2018 by Violaine Gestalder and Michel Doneda at the Festival Le Bruit de la Musique. The score - made up of autonomous fragments - finds itself reconstructed and magnified in a mixture of written and improvised gestures by what we, composers, have most preciously, our "gold": the performers who defend and bring our music to life.

Deep in the Air II, Carol Robinson (2023)

Le fond de l'air is the first piece in a cycle called The Weather Pieces. These pieces offer an almost psychological reflection on the meteorological phenomena that surround us. Whether it is fascination, terror, tranquility or even nostalgia, these phenomena affect us deep within our psyches. In this case, from an enigmatic expression was born a work for flute - or soprano saxophone - and electronics which evolves very gently. Poetic but questioning, it is music of suspended time, lush with fluctuating timbres and phantom melodies. Voices are revealed like the inner thoughts of the performer. The ambiguity between the real game and an electronic part which multiplies and spatializes the instrumental timbres, creates an expression as tender as it is ephemeral.

These voices that pass through me, Hélène Breschand (2023)

Composed for an improviser, that is to say a musician capable of capturing the present moment and constantly adapting the construction of the piece, as a living work, a living being with which to play. How our physical and imaginary journeys create a cartography, a territory that we constantly survey, using it, renewing it, eroding it... Proposal of passing and returning from an island to a path, to constantly come back to our not, and question the knowledge of one's own universe. This piece is composed like a palimpsest, with superpositions of playing processes, which allows room for transformation through time and experimentation. The piece is thus in perpetual re-creation

-from the liner notes, translated by Google