Lifework : A Unity 1. Culture (Tradition, Assimilation) 1950 – 59 #UMFR-CD16 07 Oct 2016

Ensemble Hodos plays Philip Corner

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Pierre-Antoine Badaroux – Alto Saxophone (1,4)
Félicie Bazelaire – Cello (2)
Sébastien Beliah – Double-bass (2)
Fidel Fourneyron – Trombone (4)
Elodie Gaudet – Viola (1-3)
Brice Pichard – Trumpet (4)
Joris Rühl – Clarinets (1-4)

1. Two-Part Monologues, N°2 (1957, 3:19), 2. Pieces for String Instruments, N°7 (1958, 22:44), 3. Two-Part Monologues, N°3 (1957, 5:19), 4. 148 Equal Measures (Late 50s, 7:35)
The Download version of this album is available from

Created in 2008 by Pierre-Antoine Badaroux and Sébastien Beliah, Ensemble Hodos plays the music of composers who give each musician an important share of responsibility and freedom. Open scores, graphic scores, indeterminate pieces, or pieces using chance or improvisation, are the core of the ensemble’s repertoire. Their approach has three axes: collective work on the appropriation of pieces, close collaborations with composers, and meetings of musicians from various musical backgrounds.
This ensemble brings together musicians from different spheres, such as classical music, jazz or free improvisation. Together they present ambitious programs, and the result of the demanding work enables the discovery of uncommon music. Ensemble Hodos has been working in close collaboration with composers such as Philip Corner, Luiz Henrique Yudo, Peter Ablinger, Jean-Luc Guionnet, Bertrand Denzler and Malcolm Goldstein.

Lifework: A Unity – Ensemble Hodos plays Philip Corner presents a retrospective of the American composer Philip Corner’s work. He is a prolific musician rich of eclectic experience, reinforced by his close link with John Cage, Olivier Messiaen, James Tenney, Javanese gamelan, Korean calligraphy, and improvised music.
His work is organized chronologically and thematically in five parts, which have been used as frame for the work of the Ensemble Hodos. This record is the documentation of the first period of Philip Corner’s work, covering the years from 1950 to 1959. This is a learning period for the composer (working side by side with Henry Cowell and Olivier Messiaen), but also the beginning of his experimentations, using indeterminacy to escape the rigour of formal serialism.

Composition: Philip Corner
Recording: Recorded in Paris on the 24th and 25th of May 2014 by Lucie Laricq.
Mixing: Pierre-Antoine Badaroux and Sébastien Beliah
Artwork: Raffëlle Bloch

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