Pierre de Lune collection
Directed by Armelle Orieux
If you tried to collect meteorites, you might know the kind of dificulties singers, students and teachers face when trying to come up with voice poject themes - even more di?icult when there is no piano but rather another instrument or voice alone. You would see that you are hunting rare objects, variably composed, scattered dissimilar. You would also notice that some fall, that others are decidedly older and you would like to believe that still others are still travelling somewhere out there in space.
The goal of the Pierre de Lune collection is to collect, sort and put together works that will ?nd themselves at the core of your collections. Other works might then join them more easily And that is how concerts come into being.

Armelle Orieux studied voice with Robert Massard a the National Conservatory in Bordeaux and then with Evelyne Koch in Paris. She has performed actively since 1985 in numerous international music festivals in solo recitals and with percussion, guitar, piano, saxophone, flute and with ensembles including 2E2M, Vomova, l'Atelier Lyrique de Tourcoing, Ars Nova, l'Atelier du Rhin, Akademia...
She is especially interested in contemporary repertoire having premiered a number of works by composers of our time at Ircam, Radio France, at CIRM, CCMIX, and WDR in Cologne. She collaborates in pluridisciplinary projects with architects, ?lmakers, sculptors and dancers. She has recorded works by Luigi Nono with Vomova,Gerard Pape with CCMIX, and Pierre Charvet at Ircam. She often gives masterclasses in France and throughout the world.

We have seen how Apollinaire's model inspired Alain Berlauds compositional work (Aussi bien que les cigales). Now we will take the plunge into language source itself. The three haiku by Matsu Bosho chosen here by Robert Lemay, Mitsu no Kisetsu, naturally o?er a quasi organic link between calligraphy, their poetic power and the music.
They also demand that the performer pay special attention to their timbral quality and that magical quality suggested through their sounds and silences. Singers might find effects for ?nely stretched filigrees of sound, and in using the chest voice much like speaking. Saxophone players should look for sounds close to those produced by the human voice. The ensemble will thus find a kind of immaterial and ?eeting quality, miraculously precise nonetheless, like fine woodblock prints. One can work on the Japanese language with great accuracy by having a Japanese friend record the texts! However, it is useful at the beginning to know that Japanese vowels can be pronounced rather like French, consonants close to English ones.

Armelle Orieux