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Contemporary Persian Percussion

Trio Chemirani

| Iran

leider nur auf englisch...

 

Trio Chemirani consists of Djamchid Chemirani and his two sons Bijan and Keyvan. The brothers grew up in a multicultural family: French was the language of their mother and the language of social relations; Persian was the language of their father and the language of poetry and music. They understand it through its music and in music, but do not speak it.

During their childhood, this taste for language was mingled with the foundational experience in which Djamchid took part in 1985, Peter Brook’s production of the Mahabharata with dialogue by Jean- Claude Carrière. The inspired idea of a contemporary of a universal myth which just happened to be Indian, a theatre of humanity and the cosmos, the actors for which came not only from India, but from all over the world. Myths/languages/musics; singularity/universality: a dialectic that was constantly to the stimulate theimaginative world of the Chemiranis.

In this connection, Djamchid must not be regarded as the patriarch embodying a monolithic tradition; on the contrary, it was he who, by opening the doors of the Mahabharata, made it possible to transgress that tradition. Le rythme de la parole (The rhythm of speech, 2004) was an explicit experiment conducted by Keyvan Chemirani, functioning like an initial synthesis ofall these learning experiences, developing an experiment in hidden scansion: how could certain rhythmic patterns shared by the Tamil, Farsi and Bambara languages structure an encounter between Indian, Iranian and Malian singers and instrumentalists? The idea of a universal scansion.

After this, further experiences made possible by the renewal of urban rhythmic speech with slam (zarbologie, in 2003; Slam et souffle in 2006) extended the field of research. In the meantime, Keyvan and Bijan went all over the world gathering the pollen of all those musics that globalisation had suddenly placed within their grasp: ‘eastern’modal musics, not only those of Iran transmitted by Djamchid, but also those of the Mediterranean, of the Arab and Ottoman worlds, of (all forms of) j azz, of rock . . . Significantly, however, western art music remained outside their perimeter of research.

Gathering pollen, then –followed by a periodic return to the honey of synthesis: The Rhythm Alchemy in 2013, once again at Royaumont. It was like a new meditation on Le rythme de la parole, with a reduction down to percussion and strings. The Trio Chemirani was there, reinforced by tablas, cello, and Cretan lira. The spoken and the sung were still hinted at, in the background. And once more, the result was an eloquent grammar, eloquent for all. Thus Keyvan Chemirani and Bijan Chemirani amass their culture, traversing multiple musical and rhythmic experiences, nourishing their activities as musicians; but always they return to the magnum opus: the elaboration of a universal rhythmic language.

On Tour

Little Drop Of Poison (7640 Bytes)

Rebekka Bakken

22.07. AT-Judenburg
02.11. DE-Allensbach
03.11. DE-Erlangen
04.11. DE-Dresden
06.11. DE-Oldenburg
07.11. DE-Hannover
08.03. AT-Graz
11.03. DE-Mainz

Rebekka Bakken zählt ohne Zweifel zu den markantesten weiblichen Stimmen Europas.