According to Sebastien Aliome
Launched in 2019, Harmonic Bus plies the roads Normandy through villages far from theaters.
And this weekend it’s at church Bully (Seine Maritime) that you can attend the concert Harmonic poem.
Churches, chapels, monuments, village houses, this area has many places that are perfectly suited for our chamber music repertoire.
“Sharing the intimacy of a concert”
Precisely with the emblematic program of the harmonic poem Folia, which has already been presented thirty times in France and around the world since its inception in 2015. Vincent Dumestre and his musicians go to meet the Normans at home.
In a context that pushes the performing arts community to reinvent itself, it seems important to us to think about local projects in small places with limited numbers to meet and share the intimacy of a concert.
After the success of the disc and concerts dedicated to Luisa de Briceño, Poème Harmonique continues its Spanish journey in a festive and choreographic spirit.
Spanish Baroque music of the 17th century
There was never as much dancing in France as in the 17th century. Would it be the same without our neighbors, the Iberians? By marrying the Spanish Anne of Austria, Louis XIII brought to France the folies, sarabandas, españolas and other españoletas, at the same time that he passed the Hispanic blood to his son Louis XIV.
The famous Baladins, these two monarchs ignited the golden age of ballet, which featured dances and motifs from all over the Pyrenees. When Briceño did not offer one of his arias, Le Bailly had to invent Locura for the Ballet de la Folie. Guest musicians or characters embodied in royal shows, the Spanish also took over the salons.
The city, imitating the court, claimed its share of the Iberian dream, from which vocal and instrumental music were not excluded: at the time of the concert, the tono humano could replace the air de cour, the guitar for the lute. Faced with the fascination of his audience with the Calderonian dream, Moulinié cast aside his pride as a French musician and tried his hand at fashion with El baxtel esta en la playa.
Spain soon irrigated a whole section of French musical art, which captivated with the ardor of its songs and the projection of its language. But from palaces to alleys, across genres and crossed imaginations, its echo haunts the same specter: the pulsation of dance, relentless as the Andalusian sun, enchanting as
Vincent Dumestre combines guitar and voices with a rich range of percussion to nurture new sounds whose discoveries he has a secret, always with the freshness of improvisation.
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