Tomás Bordalejo: Fétiches Alphonse Cemin, Matteo Cesari, Iris Zerdoud, Quentin Dubreuil, Gaspar José, Vincent Lhermet, Noemi Schindler, Clotilde Lacroix

• Tomas Bordalejo (b. 1983): Zapping 2:
• 1 Bordalejo: Zapping 2 11:36
• Canto:
• 2 Bordalejo: Canto 08:08
• Fétiches:
• 3 Bordalejo: Fétiches: I. L'énergique 02:52
• 4 Bordalejo: Fétiches: II. L'épaisseur 02:42
• 5 Bordalejo: Fétiches: III. La scherzando 01:26
• 6 Bordalejo: Fétiches: IV. La lyrique 02:50
• 7 Bordalejo: Fétiches: V. L'étincelante 03:03
• Baguala:
• 8 Bordalejo: Baguala 04:03
• Le Double:
• 9 Bordalejo: Le Double: I. 05:10
• 10 Bordalejo: Le Double: II. 07:38
• Cercles:
• 11 Bordalejo: Cercles 07:39
• Pour Rita:
• 12 Bordalejo: Pour Rita 05:23
• Total Runtime 01:02:30

Info for Tomás Bordalejo: Fétiches

Feiticio: thing made, amulet, device. These ritual objects that accompany us, protect us, reassure us in our daily lives, give shape to our fears, desires and passions. But if we sometimes choose them, they too can choose us...

Fétiches has five whims for solo violin, magical utensils, each containing their own magic, their own meaning.

Fétiches can then be read on several levels: Noëmi Schindler, the violinist who inspired these pieces, is for me a fetish musician. It embodies a violin sound with which I grew up as a composer. The violin is, of course, also a fetish instrument. His matter, his arabesques, his ankles, his balance: everything about him carries a force and a certain mysticism. A wooden assembly, almost magical.

Finally, each of the five movements that make up the piece are themselves sound objects, five specific, characteristic whims that must be tamed and trained, while yielding to them:
1. The energetic first, first whim, concentrated in dynamism, joy, excitement. A formidable game mode to balance
2. Thickness, a work of plastic exploitation of sound material. Austerity of expression, arid landscape, almost nothing
3. The scherzando, light, airy but precise
4. The lyric then, as a song in homage to Debussy and his Nuages, also a fetish in my career as a composer. The richness of a full material
5. The sparkling one, at last: An intense dialogue between virtuosity, rich sound, challenge

Alphonse Cemin, piano
Matteo Cesari, flute
Iris Zerdoud, clarinet
Quentin Dubreuil, percussion
Vincent Lhermet, accordion
Noemi Schindler, violin
Clotilde Lacroix, cello

Tomás Bordalejo
A self-taught composer and guitarist, Tomás Bordalejo arrived in Paris in 2005 after three years of jazz studies at the Institute of Contemporary Music in his native Buenos Aires.

He joined the conservatory of Gennevilliers, then the CRR of Paris and the Pôle supérieur de Création Paris- Boulogne-Billancourt. His meeting with the composer Bernard Cavanna at the Académie de Villecroze was decisive for his development, for his career. Peter Eötvös, Pascal Dusapin, Yan Maresz and Philippe Hersant also encouraged him to consolidate his own language marked by an original aesthetic.

Far removed from musical academism, Tomás Bordalejo draws on the worlds of sound he encounters as well as on exchanges with musicians to construct a music that is as abstract as it is lively and personal. His work is part of a real compositional research marked by a constant dialogue with other artistic disciplines such as architecture, urbanism or philosophy.

Each piece illustrates a staging of the sound material and a new reflection on the modes of play. Tomás Bordalejo has collaborated with the Ensembles 2e2m, TM+, Court Circuit, L’Instant Donné, Aleph, les Voix animées, l’Itinéraire, the THReNSeMBle (budapest) and the Geneva Chamber Orchestra; as well as with performers such as David Kadouch, Nöemi Schindler, Eric-Maria Couturier, Paul Meyer, Marianne Piketty, Jean Deroyer, Anthony Millet, Pierre Roullier, Nahuel Di Pierro, Alphonse Cemin, Vincent Lhermet, Gérard Caussé, Michel Portal…

Tomás Bordalejo’s music has been performed at the Colon Theatre in Buenos Aires, the Philharmonie de Paris, the Sorbonne University, the Lille Opera, the Théâtre de Gennevilliers, the Cartoucherie, the Athénée Louis Jouvet, the Théâtre du Châtelet, the Maison de la Musique in Nanterre, the Vichy Opera, the Abbaye du Thoronet, the Musée d’Art Moderne in Toulon…

Tomás Bordalejo is a laureate of the Fondation Banque Populaire and won the 2019 prize of the Tribune de Compositeurs.trices de l’Argentine (TRINAC). He is president of the ensembles 2e2m and Nomos.

This album contains no booklet.