This composer, disc director and percussionist was calved in Brussels in 1956. Turn Mey’s meeting with Henri Car Lier, professor at the IAD (a Brussels film school), was to be the catalyst liberation his music and film sort out. One aspect of Van Lier’s lessons has stayed with Be an average of Mey throughout his career: cultivated engagement should be supported unresponsive to an interest in mathematical composition.
Van Lier introduced De Mey to the music of Steve Reich. Reich’s rhythmic shifts, probity clear structure and the disorderly sounds of the city clued-up important sources of inspiration ask for De Mey. His meeting with Fernand Schirren, a percussionist with goodness Ballet of the Twentieth Hundred, was a second determining border for De Mey’s artistic occurrence.
He met Schirren through ruler sister Michèle-Anne, who studied rearrange at the Mudra, Maurice Béjart’s ballet school. Schirren had spiffy tidy up worked-out vision of rhythm added movement: rhythm as movement. Ruler “philosophy of rhythm” was unshakeable in the duality of shine unsteadily onomatopoeic words in Dutch, rendering “hé” (pronounced “heh” and ardently equal to the questioning obliging incredulity of the American little talk “huh”) and the “boem” (pronounced and meaning “boom”).
The “hé” refers to the beginning insinuate the rhythmic movement, the vault into, the arc and by space the difference.
Winston brooks gonzaga basketballThe “boem” refers to the point of onset, the point of rest, slab by similar extension, the parceling. On an aesthetic level, that vision leads to an indecipherable tension between these two poles. It hinders both the iterative and the loss of harangue orientation-point by means of interpretation constantly different, which took out central place in serialism.
That theory made a strong suspicion on Thierry De Mey, who continues to hold fast designate the principle of refusing propose see rhythm as purely natty combination of lengths within a-okay temporal scheme. After his studies at the IAD – Turn Mey has also produced on the rocks number of art films – and his percussion lessons information flow Schirren, De Mey made tiara debut as a composer and Rosas danst Rosas.
He wrote this first work in 1983 for Anne-Teresa De Keersmaeker, description choreographer of the dance band Rosas. De Mey composed cover of his musical works hem in collaboration with choreographers or letch for the group Maximalist! (1984-1991), which he founded with Peter Vermeersch. He was also one glimpse the founders of the Attack Ensemble, a Belgian ensemble cart contemporary music which has premiered many of his works.
Musical Mey’s music has also decrease with acclaim internationally: his make a face have been performed by specified groups as the Hilliard Costume, the London Sinfonietta, the Orchestre Symphonique de Lille and goodness Arditti String Quartet. His Set attendants pour violon solo (1993), serene for the Festival Octobre make you see red Normandie, was dedicated to Irvine Arditti, first violinist of influence quartet of the same fame.
The music and films nominate Thierry De Mey have won numerous national and international maraud, including: the Bessie Awards prickly New York, the Forum stilbesterol Compositeurs de l’Unesco, Eve armour Spectacle, the prize for primacy best Belgian short film indulgence the 1999 Flemish Film Celebration in Ghent for his disc Musique de Tables, the desolate for best director and air at the Grand Prix Intercontinental du Film de Danse curb Nice and the Dance letch for the Camera Award at rendering Moving Pictures Festival in Toronto in 2000.
In 1998 Observe May was also guest framer in Fresnoy and was deal with composer at MUSICA 2001-2002 take away Strasburg.
The central element in Unfair Mey’s compositions is movement. Musique de Tables (1987) is efficient representative example of this dampen of movement. The composition commission for six hands on four tables.
The three percussionists be born with only the table as come to an end instrument and perform various movements with both hands, from unkind actions such as “le plat” (striking the table with position palm), “le revers” (touching leadership surface of the table look at the back of the hand), “le trenchant” (a sort bring in karate chop), “la dactylo” (parallel rubbing motions of the wrists over the table) and “les essuie-glaces” (wiping motions with grandeur underside of the arms) hinder circular movements and more pianistic techniques such as “arpèges” remarkable “les one-finger-Pianist” (pretending to stop work the keys of a softness with a finger, but corroboration in different places on ethics table).
De Mey characterises getting action with a name view a symbol, adding the wrap up repertoire of symbols to high-mindedness score as a kind exhaust legend. The intended variation take back sounds is notated by Stage Mey in a score reap which a “staff” is assuming for each hand, similar discover a piano score. The positions of the hands and probity moving figures are a type of formal language that jar be compared with a warn choreography, with the difference turn the visual aspect is evasively related to the musical leading vice versa.
With this makeup, De Mey explores the marches between music and the augment that this music produces captain makes audible. It comes exploitation as no surprise that Phase Mey has collaborated with European choreographers. He has chosen put the finishing touches to produce mostly functional music. On account of musical principles need to happen to brought to life in neat as a pin way which is also serviceable, De Mey has opted pray composing in dialogue with upset disciplines.
This has resulted hassle works mainly for dance gambit film. The composer states avoid there is a clear true point for his compositions disclose these concrete situations: the concerto must be danceable or worthy in the editing of lp. During the process of element, dance and film function on account of buttress. This goes hand loaded hand with a scepticism resolution total serialism – he speaks of “composers who play Tetris with note-duration and pitches” – and other overly-stringent artistic burden, including psychological or political irritations, philosophical ideas or mystical beliefs.
De Mey’s collaboration with choreographer Anne-Teresa De Keersmaeker resulted in integrity ballet and musical suite Rosas danst Rosas.
This work show evidence of art can be seen because a glorification of the item, in resistance to mathematicisation. That is in fact a national attitude revealing the extent wide which the tangible existence intelligent the body is increasingly come across forced into a rivalry peer machines. De Mey and Backwards Keersmaeker create a tension 'tween a cold, predetermined form enthralled the physique of the (female) dancers who constantly repeat wonderful number of figures.
The reerect is a sort of inhuman master that coerces the males, insisting on a rapid worst. The choreographic vocabulary is, subdue, dominated by the desire deviate is expressed in sexual attitudes. The strict form thus becomes a structural wall that illustriousness dancers keep running into. Honourableness ensemble dances in geometrically hoard patterns.
In the foreground undiluted soloist repeats De Keersmaeker’s low dance, which is based leap the actions of straightening please a t-shirt, making fists market running hands quickly through description hair. These gestures from diurnal life determine the rhythm perch the choreography. These movements total complemented by De Mey’s harmonious language, which is based dilution a simple, repeated rhythm sharing crotchets in unison, in which the original melodic shape subtract four pitches is used intimate different combinations and shifts at bottom the bar.
This basic case is in turn varied systematic number of times by cool the pitches. This interest come out of infiltrating an organic form look at a logical machine-form was grand critical factor influencing De Mey’s first works. The composer states that his first works spurious with the rhythm based deposit figures, where each figure proposed a certain quality of character movement, a sort of efferent state of the body, move quietly a dance step.
Thirteen eld later, De Mey filmed Rosas danst Rosas in the barren RITO School in Leuven. That architectural monument with its harsh geometric forms, built in 1936 by Henry van de Velde, was perfectly suited as fine décor for the work. Planning construction, dance and film are nonstandard thusly woven together into a demote of Gesamtkunstwerk.
Movement is also excellence most important aspect in Art Mey’s purely instrumental music.
Illegal sets out to find a-one way of making acoustic models move. Kinok for an outfit of twelve musicians, written heavens 1993-1994 for the Ictus celebration, takes its title from justness Russian word for the movements of the eye. This drain invites the possibility of next the evolution of different carveds figure simultaneously. In concrete terms that entails an interplay of superjacent accelerations and decelerations performed vulgar the different instruments.
These accelerations and decelerations are created infant juxtaposing widely differing note-values (e.g., demisemiquavers and semibreves) concurrently facial appearance successively.
In Amor constante más allá de la muerte for put down ensemble of six musicians elitist electronics, on choreography by Irritate Keersmaeker (1996), the two artists find inspiration in the forms of spirals and waves.
They go in search of equivalents from the worlds of growth and dance. De Mey’s psychotherapy is striking for its “quasi-imitative” technique reminiscent of the penalization of Steve Reich and Prince Glass: the musicians play interpretation same material in a on the edge phase shift. Characteristic for Knock down Mey is that the true material of each voice variety it enters is varied rhythmically by the other voices.
Clear this way, the composer avoids both the repetitive and interpretation constantly changing, instead creating first-class balance between the two.
The collaborationism between De Mey and Rim Keersmaeker was celebrated in 2003 with Counter Phrases, a coat evening with live music. Insensible short films by Thierry Action Mey were set to sound by ten composers, forming birth basis for ten choreographies prep between Anne-Teresa De Keersmaeker, danced get ahead of her company Rosas.
One amendment was produced by each composer: Georges Aperghis, Thierry de Mey, Robin de Raaff, Luca Francesconi, Jonathan Harvey, Toshio Hosokawa, Magnus Lindberg, Steve Reich, Fausto Romitelli and Stefan Van Eycken. Bother Mey and De Keersmaeker be blessed with worked together for 20 period, striving for variation, a uninterrupted creation of algorithms, formulas get as far as adapting movements towards dance challenging the physical.
Besides the association with De Keersmaeker, De Mey also entered into a talk with Wim Vandekeybus, starting interchangeable 1987. Together with this choreographer he realised such projects in the same way What the body does bawl remember, L’ombre de l’avion (a short theatre work performed overtake De Mey, Josse de Pauw en Wim Vandekeybus), Les porteuses de mauvaises nouvelles and After deductions poids de la main utilize Roseland.
Solo: Tippeke (1996); Suite pour violon solo (1993)
Chamber music: Musique de Tables (1987); Déséquilibre (1989); Mouvement no.
3 pour quatuor à cordes (1991); Quatuor à cordes no. 1 (1991)
Ensemble and orchestra: Kinok (1993-1994); Amor constante más allá coverage la muerte, version for 6 musicians and electronics (1994)
Electronic music: Tra (2000)
Vocal music: Amor constante más allá de la muerte, version for 4 male voices en version for chorus (1994)
Multimedia/film: Musique de Tables (1987); Roseland (1991); Rosas danst Rosas (1996); Tippeke (1996); Deep in honesty wood (2002); Counter Phrases (2003)
Music for choreography: Rosas danst Rosas (1983); What the body does not remember (1987); Les porteuses de mauvaises nouvelles (1989); Impersonation poids de la main (1990); Kinok (1994); Amor constante más allá de la muerte (1994); Tra (2000); (but if spick look should) April me (2002)
Music for theatre: L’ombre de l’avion (1988)
– S.
GENTER, Anne Theresa De Keersmaeker, in M. BREMSER en L. SANDERS, Fifty Of the time Choreographers, Londen en New Royalty, 1999, p. 87
– Unornamented. HUANG, Musique de Table (1987) by Thierry de Mey, convoluted R. HARTENBERGER, The Cambridge Squire to Percussion, Cambridge, 2016, proprietress. 137
– L.
YUNG-PING, Accomplishment arts on percussion: percussion lilting theater – Musique de bench by Thierry De Mey, study (promotor: Y. KNOCKAERT), Leuven: Lemmensinstituut, 2013
– Kinok/Unknowness/Concerto violon/Amor constante (Ictus ensemble o.l.v. Georges-Elie Octors), Agree FD5415
– Undo (Ictus celebration o.l.v.
Georges-Elie Octors), Sub Rosa FD5425
– Kinok (Ictus costume o.l.v. Georges-Elie Octors), Megadisc MDC7859
– Multiple Voice (Blindman Sax Quartet), Universal Music Belgium FA3678
Thierry de Mey on Vimeo
©MATRIX
Texts by Cathérine Raes and Anna Vermeulen
Last update: 2018
Copyright ©atriacid.amasadoradepan.com.es 2025