Twelve months into its 30th anniversary, the Today Musiques contemporary creation festival has established itself both as one of the most open and closest to the public. Slightly on the margins at the beginning, it is now proving to be a precursor of the spirit of contemporary music festivals, abandoning the traditional written work to project itself into the world of improvised electronics and technological developments. Despite the persistence of uncertainties linked to the pandemic, this fall meeting attracts a large audience, from the youngest to the oldest, all eager for discoveries.
With its own budget of € 300,000 within the budget of the Théâtre de l’Archipel de Perpignan, which has included it in its programming since 2011, Today Musiques presents the diversity of technological research. “Machines are no longer confined to laboratory secrecy, enthuses Jackie Surjus-Collet, the artistic director of the festival, they have entered our lives and participate in our vision of the world. The public knows it and they want to experience it with us. »Performances, improvisation, interactive works, electronic wanderings associating the body and the sensations become in this festival now followed by many of its peers – including the Musica festival in Strasbourg – an instrument for creating image and sound. At the confluence of “current” and “scholarly” music and from the oldest (Bach, Handel) to the most accessible of the XXe century (Satie).
Wanderings and sound sculptures
The narrated experience Fake proposed by the collective La Muse en circuit, created by Luc Ferrari and now directed by Wilfried Wendling, adapts a walk in the city center of Perpignan, already offered in September 2020 during the Musica festival in Strasbourg.
→ READ. In Perpignan, sharing of musical experiences between artists and the public.
Basketball Crystal by Michel Deneuve playing sound sculptures by the Baschet brothers which he presents without laughing as ” as difficult to play as a violin »Or the sensory show Free from the company Intensités by Maguelone Vidal, with a sound mixer bordering on saturation and ending with a chaste strip-tease… are among the proposals with easily repetitive sound results.
A program dedicated to 17th century female composerse in the XIXe century by the magnificent Spirito chamber choir under the direction of Nicole Corti closed the first weekend of the festival, proving that written and acoustic music remains enduring and of unparalleled creative force. With the accordionist couple Jean-Étienne Sotty and Fanny Vicens, the concert thrilled the spectators, especially the very creative Paradiso for 12 voices and 2 microtonal accordions (2018) by composer Édith Canat de Chizy.