Ensemble Mêtis
DIALOG II
Ensemble Mêtis brings instruments, electronics and experimental cinema into dialogue, where images begin to resonate and music opens new ways of seeing.
PROGRAMME
New Work* (2026), 8’, for oboe, saxophone, violin and electronics.
The Possibilities of Dialogue* (2026), 10’, for saxophone, viola and electronics.
Aurès Moussong
Herakles* (2026), 8’, for violin, viola and double bass.
A new score for Herakles (2026) by Mohamad Nejad. Composed as part of NIMAcademy under the mentorship of Peyman Yazdanian.
Celles qui s’en font* (2026), 7’, for oboe, saxophone and double bass.
A new score for Celles qui s’en font (1930) by Germaine Dulac. Composed as part of NIMAcademy under the mentorship of Anna Rice.
Five Minutes of Pure Cinema* (2026), 5’, for violin, viola and double bass.
A new score for Five Minutes of Pure Cinema (1926) by Henri Chomette. Composed as part of NIMAcademy under the mentorship of Martin Matalon.
Suspense* (2026), 10’, for oboe, saxophone and double bass.
A new score for Suspense (1913) by Phillips Smalley and Lois Weber. Composed as part of NIMAcademy under the mentorship of Felicity Wilcox.
Type Writer** (2026), 7’, for solo violin.
New Work* (2026), 8’, for baritone saxophone and electronics.
Performers
Heidi Braesch: oboe
Alberto Chaves: saxophone
Violaine Darmon: violin
Yona Zekri: viola
Noé Constant: double bass
Monica Gil Giraldo: computer music designer (RIM)
Total duration: 63 minutes
DIALOG II
The second instalment of the international project DIALOG – Across Oceans, DIALOG II brings Ensemble Mêtis together for a programme of new works in which instrumental music, electronics and experimental cinema converge. Works by Tümer Uluçınar, Santiago Quintans, Giorgos Koumendakis and Hanna Mesgari explore different forms of dialogue: between instruments, between composition and performance, and between acoustic gesture and electronic transformation.
The concert also features new live film scores composed as part of NIMAcadémie. Mentored by Peyman Yazdanian, Anna Rice, Martin Matalon and Felicity Wilcox, Aurès Mouss…, Bo Huang, Ji Young and Nahyun Kim offer fresh musical interpretations of films by Mohammad Nejad, Germaine Dulac, Henri Chomette, Phillips Smalley and Lois Weber.
Here, music does more than accompany the image: it reveals its rhythms, extends its movements, reshapes its dramaturgy and transforms the way we see it. From the avant-garde cinema of the 1910s and 1920s to contemporary creation, DIALOG II turns the screen into a living space for invention and artistic exchange.
Through the sounds of the oboe, saxophones, strings, double bass and electronics, Ensemble Mêtis traces a sensitive journey across generations, cultures and disciplines—an invitation to listen to images as much as to imagine sounds.
Type Writer** (2026) — 7′
For violin.
The Typewriter Tune, for solo violin, which was premiered at the Présences Festival in 2004 by Hae-Sun Kang, Giorgos Koumendakis follows the trail of the “anonymous” creators of folk songs, “rearranging or recomposing traditional musical themes, while preserving their energy and elegance, the authenticity of their primordial model, their beat and soul”. The work forms part of a wider cycle named Typewriter Tunes, each addressed to a particular recipient, and is inspired by serra, the Pontic Greek war dance. The violin takes over the part of the Pontic lyre and is “addressed” to Iannis Xenakis.