{"id":11601,"date":"2024-04-24T15:01:52","date_gmt":"2024-04-24T15:01:52","guid":{"rendered":"https:\/\/pluralensemble.com\/portfolio\/francois-paris\/"},"modified":"2024-07-13T15:00:49","modified_gmt":"2024-07-13T15:00:49","slug":"francois-paris","status":"publish","type":"portfolio","link":"https:\/\/pluralensemble.com\/en\/portfolio\/francois-paris\/","title":{"rendered":"FRAN\u00c7OIS PARIS"},"content":{"rendered":"\t\t
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“It is difficult for the composer, in the context of record production, to consider the interpretation of his works as definitive at any given moment, especially if he considers that the interpretations must always be in movement, in perpetual evolution.<\/p>

Just as we must, at a given moment, consider the work on the workbench as finished, we should probably consider the recording as a photograph of the moment T, which makes it a representation that necessarily corresponds to an exact date in the life of the works. That’s probably why I’ve made so few recordings.<\/p>

PluralEnsemble’s proposal to record after several concerts these five pieces from my catalog, from the Tic-tac Parc <\/em> (1997) to the Sisco trio <\/em> (2012), convinced me to overcome the reluctance I just expressed. The works presented here span fifteen years of my work in the field of instrumental music without technological devices (the voice of Sisco trio<\/em> receives an instrumental and chamber treatment).<\/p>

From an editorial point of view, I see here the opportunity to give an account of part of an artistic trajectory that I hope will be coherent […]”<\/p>

Fran\u00e7ois Paris<\/b><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00b4T\u00cdTLE<\/span><\/h3><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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composer<\/span><\/h3><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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interpreters<\/span><\/h3><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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PluralEnsemble<\/strong>
Elodie Tisserand-Paris, voz <\/span>
Rui Borges, flauta <\/span>
Paula Mart\u00ednez, flauta <\/span>
Iria Porras, oboe <\/span>
Antonio Lapaz, clarinete <\/span>
Ana Mar\u00eda Santos, clarinete <\/span>
Albert Alcal\u00e1, fagot <\/span>
El\u00edes Monchol\u00ed, trompa <\/span>
Joaqu\u00edn Eustachio, trompeta <\/span>
Alberto Rosado, piano <\/span>
Ema Alexeeva, viol\u00edn <\/span>
Erica Ramallo, viol\u00edn <\/span>
Javier Azn\u00e1rez, viol\u00edn <\/span>
Ana Mar\u00eda Alonso, viola <\/span>
Wenting Kang, viola <\/span>
Mikolaj Konopelski, violoncello<\/span>
Michal Dmochovski, violoncello <\/span>
Ra\u00fal Mir\u00e1s, violoncello <\/span>
Luis Otero, contrabajo<\/span>

Director<\/strong>
Fabi\u00e1n Panisello<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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I. Settembre<\/em><\/strong><\/p>\n

II. Sisco trio<\/strong><\/em><\/p>\n

III. Sombra<\/strong><\/em><\/p>\n

IV. Pour Florian<\/strong><\/em><\/p>\n

V. Tic-Tac Parc<\/strong><\/em><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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