Satie Vexations 3 in Monaco: the 24 hours non stop performance !

here the complete performance in a time-lapse video 

Still part of the Vexations4Japan tour i organised, the Monaco performance was also the very first time that i did a "long" version. By long version i mean more than 20 hours in a row. Well .... to be honest i did it only twice, 24 hours in Monaco and 35 hours at the Palais de Tokyo. 

The idea to do a 24 hours version did not came from me. As you start to know me, you might have understood that i am pretty talkative, and in real life, i am even more. 

When i was talking to Mr Boéri, the owner of the visionary galery "Entrepot" in Monaco, about the Vexations project, and explained him what it was. 

With Mr Boéri we shared one point: to do avant-garde event in Monaco, and he was very interested in the fact that the piece "could" be 24 hours long. 

So with a funny face, he look at me and said: "yes, yes, very interesting, let's do this 24 hours version!" 

Luckily i did not start with the Monaco one, and i had the 2 previous other concerts to warm me up. 

I wanted to push the experience further than a concert, and since we were in a Galery with no windows, i wanted that the scores will be all around the public. Unfortunately the idea was not really possible (but i still keep it in my mind and hope to do it one day). 

And for the very first time, i insisted to display the public all around the piano, an idea that i will use many time after

But on the other hand, i had this interesting idea: 

Since many scores were needed (840 to be precise), i wanted to make like an "inspirational" circle 

Everytime i eneded the performance of one page, i let it on the floor 

On the other hand, I met one of my painting soulmate : Andrea Clanetti Santarossa

He was using some scores, and doing paintings with it ! 

3 Paintings were made, and the public was able to win it. All the money will could get went directly to help the japan refugees. 

Sometime Andrea could not stand it, and had to rest : 

A very important point : once again, all the concert was displayed on internet. With it we got a huge succes as there was more than 2000 connections per hour ! 

The promo was very nice, and you can find everywhere related to that here at this link : promo 

Now for the music : 

My preparation was one of the most intense one:
No food and no drink for 3 full days prior to the concert. If the first day was very ok, the 2 other days, and specially the last one, i was more like a zombi. No food is ok, when you pass 20 hours, your appetite is reducing a lot. But on the other hand .... no drink is hard , as your body will do all its best to get some water, and .... taking a shower can be difficult as you can find yourself drinking by accident!

Past 48 hours, you start not to know if you are day dreaming or not. I still remember how much i was weak before starting the Vexations.
I took a lot of time to go to the Galery, and .... i did well since there was a trafic jam ....

As everytime, Mr Boéri wanted the concert to happen in the best conditions possible.
After the Perpignan performance, i had a long list of wanted food and drink. And .... i was surprised to see that everything i wanted was there !!!
But it is not as good as you think, since you really eating too much that you should, and after ... you really have problems ! And you know .... no stop !


The very good point of those version, is that it allways starts well.
You know you have to play slowly, because you have SO MUCH time !
Also i did not do the same mistake as Prague, and i did not see strange movies before. And the galery was full of light.

Also for the very first time, i performed the famous repeat that few are doing. You might have heard about the theory that, thanks to the Salabert edition, we are not able to understand the meaning of the last repeat sign, because it is a little different that the normal sign Satie allways use.
Well...... to prepare this concert, i was very happy to have receive a Facsimile in color of the manuscript, and saw that .... the last sign is a normal one, but simpy the black & white copy ruined everything.

So for the ones that do not understand quite well, the Vexations that i performed has this scheme :
Theme
Variation 1
Theme
Variation 2 (who is, in fact the Variation 1 upside down)
Theme  (this was on this last repeat that the Salabert 1st edition is not clear at all ! and it is true that ... performing it makes the Vexations longer of 20% and .... muliplied by 840, it is quite important)


I still remember that, everytime someone came to see the concert, there was a kind of ringtone, and Mr Boéri took his time to explain the piece.
When i was performing, i was not very at ease with all this noise around, but unfortunately the Monaco public, is not the kind of public that will do silence meditation.

Time to time i was joking with Andrea, and also i was looking slowly by slowly how his painting were evolving.
Public was coming in a regular basis. There was public from all over the world, i received supporting message from USA and Japan, I was simply flying over the notes.
Also on those message, i remember that i received many various questions about the Vexations, the performance, and on me.

Mostly we can say that it was done in the famous "Musique d'ameublement" way, as i can read sometime over the internet. That means, a music that is done only to "color" the everyday life. Today we would say, music for elevator or Muzark (as i read in "Ocean of time" a book about Ambient Music).

But ...
That was ....
before 1 am !

First of all, i learnt a terrible truth : doing the Vexations in a normal way is really a mistake : i mean .... Don't do like i did for the first 7 Vexations !!! With the time you forget about the bad and remember only the good !!! Do not use a "normal" piano bench !!!!!! Never !!!!!!!
I know, it is cool, it looks great and pro, but ........ after 8 hours your back really ... Hurts !!!!!!!!! it hurts a lot !!!!!
This time i had no more pains with my hands and arms, but on the other hand ...... i had so many back pain .... my muscles were all tenses like rocks !



Passing this time .... everything changed. Public stopped to come, and only me, Andrea, Mr Boeri and his assistant stayed there ....

This time the "helish" moment arrived at night .... everybody was sleeping, and .... i was alone ......

Also i had no more message from internet as .... everybody was sleeping and so... not able to tell me ...

I tried to wake me up, using the spring water sprays, eating dry ginger , but that was hard.
It went along like that for 3 hours and ... at 4 am... pure despair !

And of course, slowly by slowly you enter into this "vexations" world, the despair of the music, each note sounding like a dagger into Satie's heart.

At 6 am, the other started to wake up. More joyfull, and could not belive that .... i was still holding on !

I still remember the frustration ........

They had fun upstairs, enjoying a wonderful breakfirst ! while i was there .... no i was not starving as i could get anything i wanted (i still remember the extreme kindness of Mr Boéri allways asking me if everything was ok ).
I could smell the coffee ..... the croissant ...... the laugh .....
and .......
i was still front of the piano .....


7 am : the audience came back, and also in the very same way i could heard more internet questions.


I had some massages for my back, i received some roses, and like everytime, more people came, they could enjoy nice food ( i ask some for me ). But it was very relaxed. Psychologicaly i was far away from this terrible moment of the night, the famous 'despair' moment !

But again, with the time running, it was once again very difficult to finish, and once again i really did not want to stop.

here a video with the last 10 Vexations

Again you experience this feeling ....
the one you don't want to have ...
like a farewell ...
You hug and hug and hug this very person who is so important to you
Your plane has to go
and ... you don't know when you will be able to see this person again
"very soon" you both say
you promise the world
but inside you ... you know the truth, that ... it will take time
much later, really later for sure
...
a lot of time ....

For the first time i started to really understand the music. And this is the keystone of this Monaco performance

Exatly like the wonderful Bill Viola video, if you have a quiet and meditating ambience, it works wonderfully, and ... for Vexations it is the same !
I still remember an internet folower that was complaining. This wonderful person folowed both the Perpignan & the Monaco, and was always asking for more silence, and .... i must confess that he was right !

No, no, no ! Musique d'ameublement was composed long after the Vexations, and on the opposite of what you can read, Vexations is not a joke at all. It might even be the most serious piece Satie ever composed.
So, if you really want to be into this piece, you have to do it in a meditating way. And even, i would recommand to put some long chair for the public. As i saw with the other Vexations, sleeping with it, is a fantastic journey.

There is also another think that i understood. Thanks to the addition of this 3rd theme repeat, i really feel that it was not a "long and never ending" piece, but on the other hand .... 840 pieces !
 Yes, you got my point,
This is why Vexations is in plurial form (in French : 1 Vexation, 2 Vexations etc etc),
 and my discovery is :
 in fact when you are really into this music,
 you understand that the real title should be "840 Vexations".

And with the lengh it is doing a "human journey" :

It starts with the wired, a meaningless song, turning around itself (Scriabine would describle this psychological status as "Affanato"or anguished ). The Variations are doing exactly the same, and are flipping one into another like concentric circles.
And exactly like "Love" , you will experience with the Vexations the same evolutions of feeling :
Non understanding / Frustration (another french word for vexation)
Anger
Pain
Despair
Sadness
and Forgivness going to a farewell

Then ... the simple frustration goes to pure love and forgivness thanks to a kind of "way of the Cross" (needless to remind you that Satie at this time was really into some kind of Christian-Gnostic sects)



After it, we had champagne, fun and food.

I was not tired at all. Exausted for sure. There was a pretty long question & answers from the audience, and also the internet audience. I guess it lasted 30 minutes
I rally don't remember the questions... but i guess i mostly said the very same things as i wrote there.
And surely the very same question : "do you really don't stop to go to the bathroom?" Yes, of course !! otherwise it won't be a non-stop performance !

A last image with all the team :

from left to right : Andréa Clanetti , Daniel Boéri and me

You will laugh with this very last details :

When i came back, i did not "fall in the bed" right away. I guess i was too much "high" with all the vitamins & redbull i took !
On the other hand, i took a shower and ...... ho God ..... i still remember THIS pain !!!
My back was hurting SO badly !!!!!!!!
I felt that all my back muscles, under the effect of the hot water, were like knives !!!!

Next Vexations step : the one in Rennes !


Also before i forget, this is an article on the "New Yorker" about my Satie performances :)

Vexations a dangerous and evil piano piece

Interview in Farfare Magazine

Recently, while i was visiting my familly in south of France, i had the pleasure to read an interview the magazine Fanfare did with me to go along side with the wonderful reviews of Christus. 

You can read it there (if you can log in) : http://www.fanfaremag.com/

On the other hand, i will take the liberty to write it down (i won't wrote again the reviews, you can find them here: Christus reviews ) 

For the little storry : i did this interview on phone, while i was resting after the performance i did of my Philip Glass "all piano music" marathon in Kiev, in a wonderful hotel.  I still remember the wonderful audience there... one of the warmest i met so far ! I really can't wait to return there next month !!!!

Hope you will enjoy it :)

A Conversation with Nicolas Horvath

Two years after the world celebrated Liszt’s bicentennial, new recordings featuring this composer’s music continue to be released at an astonishing pace. Indeed, for young pianists making their debut in the recording studio, the inclusion of a Liszt work—and quite often of the mighty Sonata itself­—appears to have become de rigueur. For that reason, I was not surprised in the slightest when I got word that Nicolas Horvath, a young pianist I was to interview, had chosen an all-Liszt program for his debut. That quickly changed, however, when I received Horvath’s disc. It turns out that this young pianist’s Liszt recording featured works I did not even know existed—piano transcriptions of eight movements from Christus, a rarely performed oratorio that is considered by many to be one of the composer’s supreme achievements.

At the beginning of the interview I asked Horvath, who was talking to me from a hotel room in Kiev, Ukraine, if he had recovered from the previous night’s piano “marathon,” a 6-hour affair that involved a survey of Philip Glass’s entire output of works for piano solo. “I am feeling quite well, actually. I’ve been playing marathons like this one for a few years now. When I started doing them, it used to take me a while to recover, but I’ve now learned how to bounce back relatively quickly. Plus, I had to go right back to the piano today to prepare for tomorrow’s performance, which will feature Hans Otte’s ‘Book of Sounds.’ I am told that it will be a premiere in Ukraine.” What is the longest piano marathon he’s ever played? “The longest piece was 35 hours non-stop for Erik Satie's Vexations at Palais de Tokyo in Paris! But the longest marathon was 18 hours, I performed Satie’s complete works for piano, including the famous Vexations, which I played 840 times, as indicated in the score.” Was getting through the Glass marathon easy by comparison? “Actually, playing Glass’s complete works is probably more difficult because they are a lot more demanding technically speaking.” Does he enjoy playing marathons? “Of course, that is what I do them. I enjoy the spectacle of the performance itself, and the physical challenges it presents. But there is also an artistic message in play. I’ve found that presenting many woks of a particular composer in the same setting is oftentimes illuminating for both the performer and the audience. Perhaps it has something to do with the fact that the audience knows that it is participating in an unusual, once-in-a-lifetime concert.”

I asked Horvath to retrace the steps that led him to where he is today—has he always wanted to play piano marathons? “I have a somewhat unusual background. Unlike most of my colleagues, I did not grow up aspiring to be a musician. In fact, until I was a teenager, I was not at all serious about my music education. I did play the piano a lot, but I considered it mostly a hobby and definitely did not have any idea that I would some day make a career out of it. Nonetheless, every year I participated in a piano competition in my home town. Despite not working very hard to prepare, I won a prize every year. When I was 16, the competition was attended by the American conductor Lawrence Foster. He was impressed with my playing and offered me a scholarship to attend the Aspen Music Festival. I took him up on his offer, and after a few months in the United States, things just clicked for me and I realized that I wanted to be a musician. I returned to my native Monaco, where I began to study seriously with Gérard Frémy, who also helped me develop an interest in playing new music. After a few years of study, I decided to move to Paris to continue my studies, and after few years in Ecole Normale, I was able to meet Bruno-Léonardo Gelber.”

I asked Horvath if he participated in competitions while he was studying. “I did not. In fact, Maestro Gelber told me that he would only teach me if I agreed not to participate in competitions while I was his student. He thought that, to reach my full potential, I had to start in many respects from zero. For that reason, he also advised me not to give concerts or recitals. As you can imagine, it was difficult for me to be away from concert audiences, but I followed Maestro Gelber’s advice and took a hiatus from public performances for a few years.” What did he learn during the time he spent away from the concert stage? “I earned a lot about sound production and how to make the piano sing. The technique was already there, but I learned how to better control it. While studying with Maestro Gelber and after my studies with him concluded, I also received a lot of advice from Oxana Yabonskaya, Eric Heidsieck, Gabriel Tacchino, and Philippe Entremont, among many others. I eventually began performing in public again after a few years and, after turning 30, I also returned to the competition circuit. In the course of two years, I won 11 prizes, including 7 grand prizes.”

I asked Horvath to explain his interest in contemporary music. “It’s hard to explain love. I am just fascinated with the complexity and variety you find in contemporary music. This may surprise you, but I can’t think of a better piano recital than one that would include all of Stockhausen’s Klavierstücke. Unfortunately, I am yet to run into a promoter who agrees with me! Most people who’ve heard me say it think I am being funny. Still, I always insist on including new music in almost all my recitals, and I oftentimes perform Stockhausen, Ligeti, Nono, Berio, Pärt, Takemitsu, Glass, etc. Of course, I also love Liszt, Scriabin, Debussy, Satie, Chopin, Bach, Mozart, and so on. I believe that Alfred Brendel once said that it is easier for a pianist to make a name for himself if he focuses on a small number of composers and becomes a specialist, but doing so he will stop to evolve. I subscribe to that observation.”

Given his eclectic taste, I asked Horvath if it was difficult to settle on just one composer for his debut recording. He replied: “Picking Liszt was not difficult at all because he is definitely one of the composers with whom I feel very close. Picking the contents of the album was a lot more difficult. As of a few years ago, I didn’t even know Christus. During a conversation with my dear friend Leslie Howard, I asked him if he had a favorite Liszt work, and much to my surprise he told me that it was Christus. I felt embarrassed for not knowing the oratorio, so I got myself a recording and the score and I was astounded at the beauty of the music. I also found out from Leslie that Liszt had made a transcription for piano and singers of the complete work and that 5 of the 14 movements are for piano solo —Einleitung (Introduction), Pastorale, Hirtengesang an der Krippe(the Shepherds’ Song at the Manger), Die heiligen drei Könige (The Three Magi), and Das Wunder (the Miracle). A few years later, I was approached by Editions Hortus, a recording label, and asked to make a recording. Naturally, I thought about Liszt. Initially, I proposed a program that included the complete Via Crucis, the two Légendes, and a few movements from Christus. Somewhat to my surprise, Editions Hortus accepted my proposal right away, and they also asked me to write the liner notes for the recording. In the course of discussing my project with Leslie, who had already recorded 5 of the 14 movements, he pointed out the fact that the movement titled Tristis est anima mea could be also performable if, like in the Das Wunder movement, I would play the tenor soli with the piano part. So it was essentially a freestanding piano work. Given that Tristis est anima mea lasts nearly 15 minutes, I began to wonder if it were possible to dedicate the whole album to Christus. After some more detective work, I discovered at the Bibliothèque Nationale de France that Liszt had made two transcription of the movement titled Die Gründung der Kirsche (The Founding of the Church) for harmonium and organ. In reading through the manuscript of the harmonium transcription, I saw that Liszt included various dynamic and expression markings that cannot in fact be executed on the harmonium. I thus concluded that Liszt must have intended that this work be performed on the piano as well. I also compared the transcription to the same movement in the score for piano and singers, and I saw that the piano doubled the singers. This further led me to conclude that the movement can be performed as a work for piano solo. Intrigued by my findings, I carefully reread Liszt’s transcription for piano and singers, looking to see if there were other movements in which the piano doubled the singers. I thus came across the eighth piece included on the album—O Filii et Filiae. It lasts a little bit over 2 minutes, and it is easy to overlook given what comes before and after it in the vocal score, but I believe that provides a beautiful, quiet conclusion to the recital, akin to the ending of the Sonata. In addition, Einleitung and O Filii et Filiae are both reminiscent of Palestrina and Gregorian chant, and thus there is wonderful symmetry in the recital.”

I asked Horvath if he’s performed the 8 movements from Christus included on his album before a live audience. “I’ve performed the entire cycle 8 or 9 times, and I’ve played selected pieces dozens of times. The audience loves this music even though it is so different from what most of us associate with Liszt.” “Is performing Christus as difficult as performing Liszt’s treacherous etudes?” I asked. Horvath responded: “If many respects, it is harder to play these transcriptions. Understandably, the writing is not ‘pianistic,’ and in transcribing the orchestral parts on a lot fewer staves, Liszt tied to stay true to the original, so there are many pages that are nearly impossible to perform. In addition to myriad technical difficulties, it is also very hard to make this score come to life without the benefit of the orchestra and singers. The music is very abstract and ‘pure,’ closer in spirit to Mozart, Bach, and Palestrina, and it is difficult to make sense of it all on the piano, let alone convey through the story of Christ’s life in a respectful way, as Liszt intended”

Does he prefer the Liszt of Christus to the Liszt of the Transcendental Etudes? “I love almost everything that came out of Liszt’s pen, from the excesses of his early works to the abstraction of his late piano works. Many dismiss Liszt’s role in the history of music, but the truth of the matter is that he is the link between Romanticism and the music of the early 20th century. His constant experimentation with compositional techniques and tonality and harmony is part of the reason why I find Christus to be such a fascinating work.”

In parting, I asked Horvath about his future projects. “I have so many projects to look forward to. Next season, I will be performing all of Liszt’s works for piano and orchestra with the Monaco Philharmonic Orchestra and do the Ukrain premiere the last work for piano and orchestra by Arvo Pärt “Lamentate”. I am also planning a new Liszt recording, but the repertoire is yet to be determined. Long term, I would love to record all of Glass’s piano music and Scriabin’s complete piano sonatas.” Radu A. Lelutiu

Antonio CANOVA

Today, when i just saw on facebook a very nice review about the Christus, i came across a statue that i used to love when i was a kid:
Antonio CANOVA : Psyché ranimée par le baiser de l’Amour

It might sounds a little cheesy, but when the first time i saw Canova's statue, it was in a history book, i was.... 13? I remember that i went to a printer and asl him to do a copy of it (no internet at this time ! and no personal printer too, yes i am a dinosaurus ! ).
I am happy to have crossed once again this statue, curiously i still did not see it "in real life". Maybe i was not ready yet? or too far away to be able to truly apreciate it ?

For years i used to watch it, and saw it as my ideal vision of Love.
I loved everything, the delicate gesture, the beauty of the faces and their expression ... the way Psyché abandons herself into Cupidon. Not like nowaday pleasure, but something more like a mutual trust, warmfull ... Complete purity in love !
Cupidon just hold her gently, and no more, in the very same time he is hiding her body like if he was keeping all her details only for himself...

Anyway, i am not very gifted to talk about fine art, but the Louvre Museum wrote a wonderful page with maximum details about it :
Louvre text about the Canova statue


I must confess that i am still "in love" with this statue, and still see it as a love utopia, or a dream i hope to be able to reach one day...

P. Glass 'Einstein on the Beach' parisian première !

Yes !!!

a huge croud outside, even if with my picture you can't see it

 

 

Yesterday was the parisian première of the new Einstein on the Beach of Philip Glass.

Like every Glass fans, i knew the music, i read about it, so ... i was supposed to have no surprises

but .... 

 It was MINDBLOWING !!!! i was expecting many, but .... not THAT MUCH !!!!!!! i was Lucky to be at the very first rows (the "H" row, perfectly fitting me !!! ), and in the middle, so it was the perfect conditions possible.

the singers starts when ppl were still talking and sitting

they were looking at out straight in the eyes ! ! but always with smile !

 

 The funny thing was : it started right when they opened the doors !!
Since i was very front, i could see all of it, the singers arriving slowly by slowly with a huge "Fade In".
Since the light was still "on" everybody was talking ....
And of course
when
the lights were 'off'
the very same that talked so much did the usual "shuuuuuut" noises ......

Einstein starts ....

 It was really "something" ! i am still under its spell. I don't know how to "explain" it, there was something magical, and also beautiful at the very same time.

Everything was great, the dancers, the performers, the text, the sounds ....
And even the public !! i was expecting them to leave, and never come back . In fact few left, and usually they came back after 10 or 20 minutes !

the famous image :)

It also confort me in a point i was "wondering about" : on the opposite of what the PGE usually do (specially when synth is involved" is it more than agreed to do a Glass with rubato and inspiration (and not a dry note to note perfect rendition) , i am thinking in particular to the solo violin , solo fagot and solo sax part, with sometime some "jazzy swings" ).

What to say about the dancers, the texts, the abstractness of those flying light lines ...
Also ..... it finished with such a beautiful love story ! :)

dansers were amazing !

the so famous Spaceship !

I would love to see it again, and i understand why, when they premiered, public came again and again to see it 2/3/4 times , i would love to do it !

All the Chatelet was doing a 15 minutes long Standing Ovation !

to sum up, i would say, it is like "love at 1st sight" . You expect to like it, or at best to enjoy it, But ... when it finished you realise that you experienced something so intense that you will never forget in your entire life, you feel like something Inside you changed. Touched by bliss and at the very same time sad because you really don't know when you will be able to see it again (so it fits perfectly the definition of "love at 1st sight" )

Yes Philip Glass was here ! but did not perform ...

 

 

 

You can see all the concert here :
http://culturebox.francetvinfo.fr/einstein-on-the-beach-au-theatre-du-chatelet-146813
(available for free for 4 months! )


For the curious ones : you can see me searching my place at 0:02:32 , and at 0:03 something , taking with my "wonderful" new cellphone (that i really do not master yet) the pictures you can see on my blog ^^

Thérèse Brenet "Concerto" (update)

I have just received something i told you about when i met my friend the Sax player, composer and conductor Paul Wehage : the first newly edition of one of the 2 Thérèse Brenet piano concerto !


A work for piano solo, narrator and orchestra by Thérèse Brenet inspired by the poetry of ALLALEDDINE EL ROUMI, Masnawi, passim (13th century).
"Nos musiques sont l'écho des hymnes que les sphères chantent dans leurs révolutions Le chant des mondes qui évoluent, les hommes essaient de le reproduire en s'aidant du luth et de la voix. Nous avons tous entendu ces hautes mélodies dans le Paradis que nous avons perdu; Et bien que la terre et l'eau nous aient accablés nous conservons le souvenir des chants du ciel. Celui qui aime nourrit son amour en prêtant l'oreille à la musique, Car la musique lui rappelle les joies de sa première union avec Dieu" .

I really can't wait the reh to starts, even if i know that it will be .... not soon !

here you can browse the score :
http://issuu.com/paulwehage/docs/brenet-quandlesastres/32

and here a page of the Manuscript that i got since some years now

As i explained you, a forthcoming project (after the chamber music album) is to record the concertos.

There is (like everytime with me ^^ ) a nice story : when i prepared with Melle Brenet some pièces for the chamber music recording, she really liked my "way of performing" with delicacy and harsh sounds (well when you see FFF and ppp .....) . After many talk and when i told her how i came across her music and really liked it, she told me that she is 100% entrusting me for the concertos !

Also a very very fresh new, on the last letter Melle Brenet sent me she finally started to take seriously (and started to compose)  my idea to make a "one movement" Sonata (in the very same way as the late Scriabin ones) ! I really can t wait to see it !!!


update:
 i had a really crazy idea about the Brenet concertos. I can't tell you know, because the label owner think that it is "very interesting" but since there is much time left, they will work on it.
I can't tell you what it is, but ...... if i can do it .... expect something really really great !!!!

Electroacoustic news ! 5 albums soon out ! (updated with pictures)

Some of my Facebook friends might already have noticed it, in 2014 i will release electroacoustic albums that have been delayed since a very long time.
I can not show you all artwork, since i am right now working on them, I will post them as soon as they will be done.


So this is the Schedule :

 

In January / Febuary :

Valse Sinistre will release on limited handmade digicase the Lovecraft Trilogy :

At the Mountains of Madness

with wonderful abstract pictures of my long time friend : Jessica De Clerck

The Dreams in the Witch-House

artwork is made with pictures of Dinoys ! a Huge fan of Minimal music

(you can see his blog page on the right)

Twilight Amorphousness of the Vague Abysses

with brilliant painting of artist Kinard Patricia

Sublime Recapitulation Music will release :

Leçons de ténèbres

Artwork is made from very old digial arts that i did years ago

from my point of view they fit perfectly this album

In April / May

Acedia



Mors Ultima Ratio will release my "Acedia" album

For this one the artwork has just been done with wonderful paintings of Kinard Patricia. When the album will be out i will give you all détails !

Happy New Year !

Long time no posts !


I am really sorry, but after so much work on december, i took a family break.
Not really a break as i prepared many things for 2014, and soon i will tell you many great things !!

I share with you some pictures of my New Year Eve :)

I am wishing you all the very best things for this great year to come ! Will it bring the realisation of all your dreams, wishes and projects !