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'
Three219919'
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) +
"I apologise for my obscurity, I hope it may gradually become clearer" Michel Leiris writing to Francis Bacon

While I was writing d'une lumière for the Quatuor Hêlios, I asked myself the following  question what does sound hierarchy mean and how does percussion fit into this hierarchy?
In our minds we tend to associate the world of percussion with that of rhythm but, although rhythm does play a primary role in percussion, it is in fact an integral part of the temporal semantic construction of all kinds of music. Rhythm is what enables us to apprehend and to articulate time,
Among the most unique features of percussion are the freedom and inventiveness its tone (the same can be said for electronic or electroacoustic music in its initial stages). Percussion has enabled us to free tone from classical aesthetic constraints and to consider a noise as viable sound matter: henceforth the sound of a piano has neither more nor less importance than the rustling of a plastic bag or the crunching of an aluminium drinks can. However, whereas for a string quartet tone preexists (although arguably in the music of Helmut Lachenmann this definition reaches its limits), it simply does not for percussion.
All it requires is an instrumentalist's unique imagination to create, literally, a musical utopia i.e. to invent a universe that has no precedent.

In d'une lumière the pictorial presence and the distortion associated with the work of Francis Bacon is an important recurring image. The piece is dominated by an identifiable note (E flat) or image, around which further structural elements conglomerate, distorting, amplifying and blurring, filtering and reflecting this note/body of sound, before propelling it into a chaos of convulsive sonority.

Jean-Christophe Feldhandler

199610'
Snafu (for percussion, trombone, Hammond organ, drums & electronics) +200045'
Chemins Propices (for percussion, melodicas, shengs and tape) +200422'
Vinko Globokar
Kvadrat +198915'
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'