[ PORTUGUÊS ]
Christophe Desjardins, or the inventive interpreter
Interview conducted by Diana Ferreira in November 2005; translated by Catarina Martins
photography: Jean-François Bauret
9/9
For your future projects, do you have the ambition of conducting an ensemble or an orchestra? Would that be a challenge?
If it happens, it happens. But I’ve the feeling that it’s not in my nature. I like to conduct, but I don’t know...
And what are your projects for the immediate future?
There’s a project about Harold en Italie[2] [it premièred at 15th October 2006], divided in two parts. The first part is a Contemporary mirror of that Berlioz’s piece, and the second part is a new version of the piece by Gérard Pesson, for a small ensemble.
And the “mirror” composers?
They’re four (one for each part of the piece): Pedro Amaral, Morton Feldman, Ivan Fedele and Michael Jarrell.
It's almost all finished.
[A part from Feldman...] It’s all premières, then. Was it you, Christophe, who invite them?
Yes. I had this project for quite some time, now.
A part from those, there’s also a Concert by Philippe Boesmans and one piece for viola and electronics by Philippe Manoury, which has a system developed at the IRCAM about gesture capture. There will be a device in the bow that allows reading its movement, so that it’s possible to make electronics closer to the instrument and the interpreter.
Nowadays, even with “real time” technology, there isn’t exactly interaction between the instrument and the electronics. A different interpretation doesn’t really changes the electronics. ¬