{"id":8870,"date":"2025-03-10T21:12:13","date_gmt":"2025-03-10T20:12:13","guid":{"rendered":"https:\/\/lacourroie.org\/?page_id=8870"},"modified":"2025-03-26T10:27:18","modified_gmt":"2025-03-26T09:27:18","slug":"en-savoir-2025-03-26-27","status":"publish","type":"page","link":"https:\/\/lacourroie.org\/index.php\/en-savoir-2025-03-26-27\/","title":{"rendered":"en savoir + 2025.03.26-27"},"content":{"rendered":"\t\t
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MARS 2025<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Mercredi 26 (complet) \u00e0 20h25<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jeudi 27 \u00e0 20h25<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Parfums hispaniques<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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H\u00e9l\u00e8ne Escriva<\/strong> \u2022 trompette basse
Pierre Cussac<\/strong> \u2022 accord\u00e9on<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Pierre Cussac et H\u00e9l\u00e8ne Escriva se rencontrent au Conservatoire National de Musique et de Danse de Paris. Ils partagent la sc\u00e8ne en musique de chambre et dans l\u2019ensemble de la Symphonie de Poche avant de cr\u00e9er ce duo in\u00e9dit et original m\u00ealant l\u2019accord\u00e9on et la trompette basse.
Le public curieux aura l\u2019opportunit\u00e9 de d\u00e9couvrir des couleurs nouvelles et inattendues autour d\u2019un r\u00e9pertoire aux d\u00e9licieux parfums hispaniques.
Avec des compositeurs tels que Granados, Massenet, Ibert, de Falla ou Weill ; le duo cr\u00e9e des arrangements sur-mesure de chefs d\u2019\u0153uvres du r\u00e9pertoire classique mais adapte \u00e9galement des pi\u00e8ces issues du r\u00e9pertoire traditionnel ou populaire ainsi que des cr\u00e9ations sign\u00e9es par Pierre Cussac lui-m\u00eame.
Laissez-vous guider par la bonne humeur communicative de ce Duo et des valeurs communes de convivialit\u00e9, de partage et de g\u00e9n\u00e9rosit\u00e9 qu\u2019ils ont coeur \u00e0 transmettre \u00e0 tous les publics.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Programme<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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IBERT Mort de Don Quichotte<\/span>
GRANADOS Danse Espagnole n\u00b05<\/span>
GARCIA LORCA Nana de Sevilla<\/span>
MASSENET Nuit d\u2019Espagne<\/span>
ALBENIZ C\u00f3rdoba<\/span>
CUSSAC Pot-pourri Accord\u00e9on Solo<\/span>
BIZET Carmen – Air des Cartes<\/span>
CUSSAC Impression nocturne \/ La Cailletta<\/span>
GISMONTI Agua e Vinho<\/span>
LOPEZ Le Chanteur de Mexico (pot-pourri)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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H\u00e9l\u00e8ne Escriva<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c0 trois ans, elle assiste \u00e0 son premier concert, et en ressort stup\u00e9faite. Dans une salle aux fauteuils rouges, r\u00e9sonnaient les cuivres d\u2019un quintette. H\u00e9l\u00e8ne se souvient avoir quitt\u00e9 sa place num\u00e9rot\u00e9e pour monter sur sc\u00e8ne, et pointer du doigt ce qui la fascinait devant tout l\u2019auditoire : un tubiste aussi imposant que son instrument. Sans savoir qu\u2019il lui remettrait un prix des ann\u00e9es plus tard, elle se sent appel\u00e9e \u00e0 se saisir de n\u2019importe quel objet, pourvu qu\u2019elle puisse souffler dedans. S\u2019emparant d\u2019abord d\u2019un arrosoir, la pitchoune se met bient\u00f4t \u00e0 jouer de sa premi\u00e8re \u00ab pichotte \u00bb. Elle embrasse alors cet h\u00e9ritage familial qui voit la maisonn\u00e9e s\u2019organiser en v\u00e9ritable orchestre d\u2019harmonie : maman au saxophone, papa \u00e0 la clarinette, les grands fr\u00e8res au cor et au trombone, le dernier \u00e0 la trompette.
Les ann\u00e9es filent au gr\u00e9 des vir\u00e9es \u00e0 la m\u00e9diath\u00e8que pour emprunter des CD par dizaines, zappant de la salsa aux envol\u00e9es de Zappa ; les ann\u00e9es sonnent au rythme des trajets en voiture ambianc\u00e9s par sa m\u00e8re \u2013 airs d\u2019op\u00e9ra, volume \u00e0 fond, fen\u00eatres ouvertes. Sa vocation, H\u00e9l\u00e8ne la poursuit par un cursus am\u00e9nag\u00e9 au lyc\u00e9e, s\u2019imposant une asc\u00e8se cadenc\u00e9e comme un m\u00e9tronome. Le b.a.-ba pour devenir une virtuose de l\u2019euphonium. L\u2019\u00e9bahissement face \u00e0 la puissance de cent musiciens interpr\u00e9tant Chostakovitch, les heures de r\u00e9p\u00e9tition qui se r\u00e9p\u00e8tent elles-m\u00eames \u00e0 l\u2019envi ; les auditions, les concours et les premi\u00e8res places ; les journ\u00e9es riv\u00e9es sur les partitions et les nuits \u00e0 bachoter Bach, lui permettent d\u2019entrer au Conservatoire national sup\u00e9rieur de musique de Paris.
Elle saisit l\u00e0 les r\u00e8gles immuables de ce microcosme o\u00f9, pour r\u00e9ussir, il ne faut suivre qu\u2019une voie : se pr\u00e9senter \u00e0 d\u2019autres concours, \u00e0 d\u2019autres auditions, et bis repetita. La musicienne commence \u00e0 sortir de la routine en fondant Saxback, un orchestre de chambre au sein duquel elle officia dix ans. Elle qui s\u2019\u00e9tait sp\u00e9cialis\u00e9e dans un instrument trop r\u00e9cent pour avoir sa place dans les orchestres symphoniques, parvient \u00e0 s\u2019en faire une, et \u00e0 se produire dans le monde entier, de l\u2019Asie aux \u00c9tats-Unis. D\u00e9termin\u00e9e \u00e0 explorer, \u00e0 pousser les potards un cran plus haut, H\u00e9l\u00e8ne ajoute la trompette basse \u00e0 son r\u00e9pertoire. Mais c\u2019est en embarquant pour quatre ans d\u2019aventure, aux c\u00f4t\u00e9s de James Thierr\u00e9e, qu\u2019elle contrecarre cette vie de soliste dont elle commen\u00e7ait \u00e0 se lasser.
Avec la Compagnie du Hanneton, l\u2019euphoniumiste d\u00e9couvre ce qui lui manquait tant \u2013 une vie de troupe, jouer de la musique classique tout en sortant des partitions trop convenues. Parce qu\u2019elle s\u2019y frotte au pantomime, \u00e0 la danse et au th\u00e9\u00e2tre, elle r\u00e9alise que ses talents d\u2019instrumentiste peuvent soutenir des cr\u00e9ations aux croisements de plusieurs disciplines. Une tonalit\u00e9 plus sauvage, un brin indisciplin\u00e9e. Emport\u00e9e par les riffs de Pink Floyd autant que par le trait de Toulouse-Lautrec, H\u00e9l\u00e8ne reste fid\u00e8le \u00e0 sa r\u00e9putation de ne jamais tenir en place, et \u00e0 son instrument de c\u0153ur \u2013 s\u2019\u00e9panouissant au sein de nouveaux espaces, elle se fait la promesse de vibrer par des performances hautes en couleur.
Qu\u2019elle s\u2019installe derri\u00e8re le pupitre d\u2019un auditorium, devant une classe au CNSM de Paris ou \u00e0 la HEM de Gen\u00e8ve, pour enseigner tout ce qu\u2019un cuivre a d\u2019\u00e9lectrisant ; qu\u2019elle regagne ses p\u00e9nates \u00e0 Lyon pour concr\u00e9tiser ses ambitions d\u2019artiste musicienne, H\u00e9l\u00e8ne ne manque pas de d\u00e9cliner ses imaginaires. En lan\u00e7ant asH !, elle insuffle cette volont\u00e9 d\u2019ouvrir la musique aux publics par une pluralit\u00e9 d\u2019expressions artistiques, et devient cette instrumentiste qui voit plus loin que la seule ma\u00eetrise de son instrument, cette curatrice de cr\u00e9ations impertinente.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Pierre Cussac<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Accord\u00e9oniste et bandon\u00e9oniste, Pierre Cussac d\u00e9veloppe un langage aux influences multiples \u2013 musiques classiques, traditionnelles, jazz \u2013 o\u00f9 l\u2019improvisation tient une place essentielle. Artiste \u00e9clectique et cr\u00e9atif, il compose, arrange, et \u00e9labore des programmes pour les formations les plus diverses, allant du r\u00e9cital solo au grand ensemble.
Impliqu\u00e9 dans de nombreux projets, il collabore \u00e9troitement avec Agathe Peyrat, Fiona Monbet, la Symphonie de Poche, Deborah Nemtanu, H\u00e9l\u00e8ne Escriva, Harmonie Deschamps, les Lunaisiens, Edouard Signolet, Vir\u00eavolte, l\u2019ONCEIM\u2026 Il est \u00e9galement l\u2019invit\u00e9 d\u2019orchestres et d\u2019ensembles (Orchestre de la Suisse Romande, Orchestre de l\u2019Op\u00e9ra de Paris, Philharmonique de Radio France, de Strasbourg, ONDIF, Les Frivolit\u00e9s Parisiennes, 2e2m, Klangforum Wien, TM+), avec lesquels il a eu l\u2019occasion de se produire en soliste.
Depuis 2008, il participe \u00e0 de multiples albums et donne des concerts \u00e0 l\u2019international sur des sc\u00e8nes telles que : Tokyo Forum International (Japon), Salle Bourgie de Montr\u00e9al (Canada), Philharmonie de Berlin (Allemagne), NCPA Mumbai (Inde), H\u00f4tel Palmyra Baalbek (Liban), Jazz \u00e0 Marseille, Festival Django Reinhardt, Caf\u00e9 de la Danse, Op\u00e9ra et Philharmonie de Paris, Seine Musicale, Th\u00e9\u00e2tre des Champs-Elys\u00e9es, Op\u00e9ra Comique, Salle Pleyel, Auditorium de Radio France\u2026
Laur\u00e9at de la Fondation CZIFFRA et Prix du Concours g\u00e9n\u00e9ral des lyc\u00e9es, il est dipl\u00f4m\u00e9 du CNSMD de Paris et de l\u2019Universit\u00e9 Sorbonne IV.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tinfos pratiques<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Exposition<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Rob Pi\u00e9rot<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u0152uvres r\u00e9centes<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Collages et cloisonn\u00e9s<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Rob Pi\u00e9rot, \u00e0 l’\u0153uvre depuis 70 ans, dessins, peinture, fresques, embellissement de maisons…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

MARS 2025 Mercredi 26 (complet) \u00e0 20h25 Jeudi 27 \u00e0 20h25 Parfums hispaniques H\u00e9l\u00e8ne Escriva \u2022 trompette bassePierre Cussac \u2022 accord\u00e9on Pierre Cussac et H\u00e9l\u00e8ne Escriva se rencontrent au Conservatoire National de Musique et de Danse de Paris. Ils partagent la sc\u00e8ne en musique de chambre et dans l\u2019ensemble de la Symphonie de Poche avant […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"right-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"disabled","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-8870","page","type-page","status-publish","hentry"],"yoast_head":"\nen savoir + 2025.03.26-27 - 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