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Erik Orsenna – author and reciter
Henri Demarquette – cello
Michel Dalberto – piano 

program

The Paths of Fraternity – L. Van BeethovenBeethoven
9th Symphony: excerpt.
Sonata op 102 n2: Allegro con brio
Sonate op 5 n2: Allegro molto piu tosto presto.
Funeral March from the “Eroica” Symphony. Transcript for cello and piano.
Sonata “Moonlight”: Adagio sostenuto. Transcript for cello and piano.
Sonata No. 3 op 69: adagio cantabile
Sonate n3 op 69: Allegro vivace
Sonate op 102 n1: Andante and Allegro perenni
Sonata op 102 n2: Adagio con molto sentimento d’affetto
Symphonie n9: Hymn to Joy
Symphony n9: conclusion.

“In most artists, the masterpiece or masterpieces arrive without warning, at some point in their lives, by surprise, when they are not expected, or more. Rimbaud, young, before the silence. The Cheetah for Lampedusa, passed in his sixties without having written anything before. The Bolero, UFO at Ravel… For others, much rarer, existence seems a slow ascent, an elevation. It is as if each work was preparing the next and each one was advancing, until reaching the unserilable, the ultimate song, that of the swan, the most beautiful at the same time as the most complete.

With his Requiem, Mozart perhaps illustrates this overwhelming upward movement. But it is Beethoven and his Ninth Symphony that embody it. So here is the story of the Ninth, the most famous of all symphonies. This is the story of a genius, the strongest and most fragile, the most human of all men. And here is the story of a dream of Europe, the most necessary of all dreams” Erik Orsenna.

PRODUCTION Great Scenes

The a cappella choir is one of the oldest and most cosmopolitan musical formations in the world. Comparable in beauty and demand to the string quartet, this formation has inspired composers to create their greatest masterpieces. Few works exist for cello and choir; Vocello’s ambition is to create a new repertoire, a new concert style. Thus, Vocello commissioned the greatest composers of today’s pieces for choir and solo cello. During the concerts, these new works are surrounded by masterpieces of early music that sound like an echo of their modernity. The cello, so often associated with the human voice, thus finds a harmonious setting surrounded by the voices of which it travels the extent. It seems that the beauty of this stamp combination has brought this program to a spiritual dimension. Beyond eras and traditions, the choice of works leads to elevation and mediation. 

Vocello was born out of a desire for freedom. The freedom to create and create creation. 
To create a new formation bringing together the cello and the choir; The freedom to evolve in the midst of a new world of sounds. 
The freedom to escape the traditional, agreed-upon formations and thus create new bonds of friendship, unexpected sharing and new combinations. 
The freedom to create a new repertoire with the greatest composers of his time. To talk to them… to develop, to exchange with them and then to move from dream to reality. 
To take freedom out of a whim or even selfishness to respectfully appropriate the eternal pages of ancient music to which modern instrumentalists have traditionally not had access. The freedom to feel this rare joy of touching pure jewels shining sometimes at the edge of the musical galaxy.  
To choose new texts to set to music, new themes, new fantasies born from the imagination of each. 

Finally, the chance for an instrumentalist to tutut the supreme freedom that is the voice, the instrument integrated into the human body, nature itself. The voice is a generating cell of music, and it escapes the slightest mechanism and, above all, the slightest dating. The voice is universality and universality is the freedom to touch everyone in space and time. 
Vocello is all this journey to virgin lands, new climates and their fruits to taste. It’s a permanent adventure.