Quatuor Hêlios
Percussion Ensemble
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Georges Aperghis
Seul à Seuls200655
John Cage
Second Construction +19408'
Third Construction +194110'
Double Music +19415'
Amores +194310'
She is asleep +194312'
Imaginary Landscape #1 +19396'
Imaginary Landscape #2 +19427'
Imaginary Landscape #3 +19423'
Credo in us +194210'
Four4 +199172'
Inlets +1977ad lib
Music for amplified toy pianos +1960ad lib
Radio Music +19566'
But what about the noise of crumpling paper which he used to do in order to paint the series of "papiers froissés" or tearing up paper to make "papiers déchirés"? Arp was stimulated by water (sea, lake, and flowing waters like rivers), forests. +1985ad lib
Living Room Music (for percussion and speech quartet) +19396'
Jean-Christophe Feldhandler
D'une Lumière (for percussion, piano, melodica and electric guitar) +199610'
Snafu (for percussion, trombone, Hammond organ, drums & electronics) +200045'
Chemins Propices (for percussion, melodicas, shengs and tape) +200422'
Vinko Globokar
Kvadrat +
4 percussionists are seated back to back each facing a table, on it a selection of objects which have been chosen according to the following set of instructions : 4 musical instruments which can be blown into, beaten, shaken and rubbed. 4 stimuli, objects which must be geometric, plant-like, mobile and coloured. The percussionists must abide by 4 behavioural rules they must disregard the rest of the group and may neither imitate those sitting to their left, to their right or behind them. The music must keep to 4 different rhythmical structures (complex, periodic, sporadic and static).

The score itself will be divided into 2 times 4 sections. The rhythmical structure will be given by the stimuli which should in turn influence the tempo and the intensity of the music. At the end of each section each musician must move round one place clockwise, thus finding themselves confronted with someone else's chosen objects. It is within this precarious balance between following one's own personal desires and a precise set of rules that the instrumentalists must try to communicate.

This work allows us to reflect on different forms of improvisation : should we react to what another is playing ? Or should individual players follow their own personal direction ? What compels us to play and what not to play? How do external factors affect us ? Should we follow one lead rather than another ? And finally, do we really succeed in communicating with one another?

The concluding chorus sums up these ideas with the words tolerance,independence, creativity and utopia, which are sung, needless to say, at quarter intervals.
Lou Harrison
Double Music +19415'
Daniel Koskowitz
Grover Mills (for percussion and sequencer) +199645'
George E. Lewis
Virtual Discourse (for interactive virtual instruments) +199335'
Crazy Quilt (for interactive virtual instruments)200230'
Lê Quan Ninh
Oscille (for interactive virtual instruments) +199830'
Toru Takemitsu
Seasons (for percussion and tape) +197018'