What if contemporary music was not an enigma but an adventure?

Boris Vian's literary work borrows a form of verbal fantasy from surrealism, which L'Écume des jours is no exception to . For the musicians of the dissonArt ensemble, this art of playing with norms is found in certain contemporary composers, also in search of a singular language.

The evening begins with an invitation into the contemplative world of American Morton Feldman . His piece Piano, Violin, Viola, Cello brings together a classic chamber music ensemble, but with a very personal approach. The music evolves slowly, in a constant pianissimo, through delicate textures, subtle harmonic nuances and slight rhythmic shifts, creating a deeply meditative atmosphere.

The second concert explores sonic languages ​​as contrasting as they are unexpected, interspersed with excerpts from the famous Suites of Johann Sebastian Bach . The poetic breath of Edison Denisov 's solo clarinet precedes the theatrical dialogue of Beat Furrer 's flute and double bass , while Georges Aperghis makes the latter speak in an almost human murmur. With an amplified instrumental ensemble, Niels Rønsholdt unfolds a strange tale, where mystery is tinged with disquiet. His compatriot, the Dane Christian Winther Christensen , invents a "true fake" night music, without moonlight or romanticism, but full of irony. Echoing the musicians' playing, Simon Stockhausen weaves a link between the pieces through live electronics.

Around midnight, the latter takes us to his own lands, where space becomes sensation, and where sound becomes immersion. Immersed very early in the avant-garde world of his father Karlheinz, Simon Stockhausen then turned, with his brother Markus, to jazz and improvised music; he composes for ensembles and orchestras, notably for the cinema. Today he devotes himself to atmospheric electro music, mixing sampling, digital transformation of acoustic sounds and spatialization.