Tisser le lien. Boro musical.
©Pascal Demeeste
Born out of necessity, Japanese boro textiles speak of wear, impermanence, and the preservation of everyday life. Having become collectors’ objects and carriers of cultural memory, they form part of a global artistic history, from Informal Art and Arte Povera to Abstract Expressionism. Robert Rauschenberg once declared: “I want to incorporate into my canvas any object from life.”
Is the value of a musical work determined by monumental scale or by compositional complexity? There exists an entire repertoire that, through brevity and simplicity, expresses a connection to others: dedications, album leaves, collected melodies, memories, tributes, and invocations. It is also a matter of gathering, assembling, and recomposing.
For this performance, Thérèse Malengreau creates a true musical boro, woven from works old and new that resonate with one another and affirm the power of music.
A frequent guest at concert series and festivals throughout Europe, pianist Thérèse Malengreau enjoys shaping her programmes according to coherent and personal artistic ideas. Her repertoire reflects a particular affinity for music from the turn of the nineteenth and twentieth centuries, as well as for the discovery and creation of numerous scores from both past and present. In her collaborations with composers, she readily embraces mixed music, prepared piano, and even the toy piano.
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For many listeners, the Highland bagpipe remains inseparable from its cultural roots and traditions. Yet for the Breton musician Erwan Keravec, the instrument also represents a gateway to unexplored musical territories. A piper, composer and pioneering improviser, Keravec has devoted his career to expanding the horizons of the bagpipe, revealing its remarkable potential far beyond its customary setting.
The piano accompanied Mozart throughout his life from early childhood, when he performed in public across Europe. His keyboard works often resonate with those written for larger ensembles or for the operatic stage, serving as a genuine laboratory for new ideas. In the eighteenth century, however, the piano sounded quite different from modern instruments.
