{"id":8109,"date":"2025-03-23T21:06:17","date_gmt":"2025-03-23T21:06:17","guid":{"rendered":"https:\/\/soundimageculture.org\/case-study-by-george-van-dam\/"},"modified":"2025-03-27T13:23:19","modified_gmt":"2025-03-27T13:23:19","slug":"case-study-by-george-van-dam","status":"publish","type":"post","link":"https:\/\/soundimageculture.org\/fr\/case-study-by-george-van-dam\/","title":{"rendered":"George van Dam: Presto, Perfect Sound and Sequenza"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Etude de cas, par George van Dam<br>vendredi 25 avril 2025<br>10:00\u201313:00<br>Pianofabriek (Bruxelles)<\/h2>\n\n\n<section id=\"sic-regular-text-block_e808592c2a38e06153f5c42c8ed9be7c\" class=\"sic-regular-text single-column intro-text\"><h2 class=\"section-title page-title\">Programme<\/h2><div class=\"content-wrapper\"><p>L&rsquo;\u00e9v\u00e9nement du 25 avril prendra la forme d&rsquo;une conf\u00e9rence-concert autour des films Presto, Perfect Sound de Manon de Boer (2006) et sequenza de Manon de Boer et George van Dam (2014).<\/p>\n<p>Y compris des interpr\u00e9tations en direct par George van Dam des deux \u0153uvres fondamentales pour violon solo qui occupent une place centrale dans les deux films en question :<\/p>\n<ul>\n<li>Sonate pour violon seul, Sz117, Presto (version avec micro-intervalles) de B\u00e9la Bartok (1945) 6 min ;<\/li>\n<li>Sequenza VIII pour violon de Luciano Berio (1976) 14 min ;<\/li>\n<li>et la Chaconne de JS Bach (1720) 15 min ; &#8211; une \u0153uvre r\u00e9volutionnaire qui a eu un impact profond sur les deux \u0153uvres susmentionn\u00e9es et sur la musique classique occidentale.<\/li>\n<\/ul>\n<p>Le court concert (36-40 minutes) sera suivi de la projection des deux films, puis d&rsquo;une br\u00e8ve analyse du contenu musical et d&rsquo;un examen approfondi des proc\u00e9dures et concepts techniques qui ont pr\u00e9sid\u00e9 \u00e0 la r\u00e9alisation des deux films.<\/p>\n<p>Dans les deux films en question, le concept sous-jacent &#8211; de mani\u00e8re tr\u00e8s g\u00e9n\u00e9rale &#8211; est n\u00e9 du d\u00e9sir d&rsquo;utiliser la musique elle-m\u00eame comme un mat\u00e9riau source qui sugg\u00e8re ou invite le contenu et les composants structurels de l&rsquo;image, comme une sorte de \u00ab dialogue \u00bb entre les possibilit\u00e9s du montage et de la structure.<\/p>\n<\/div><\/section>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/Presto-Perfect-Sound-1-1024x576.jpg\" alt=\"\" class=\"wp-image-8013\" srcset=\"https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/Presto-Perfect-Sound-1-1024x576.jpg 1024w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/Presto-Perfect-Sound-1-300x169.jpg 300w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/Presto-Perfect-Sound-1-768x432.jpg 768w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/Presto-Perfect-Sound-1-1536x864.jpg 1536w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/Presto-Perfect-Sound-1-1200x675.jpg 1200w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/Presto-Perfect-Sound-1.jpg 1800w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<div style=\"height:47px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<section id=\"sic-regular-text-block_436835e9595c4352ca16824af9a079c7\" class=\"sic-regular-text single-column\"><h2 class=\"section-title page-title\">Presto, Perfect Sound (de Manon de Boer) &#8211; 6 min<\/h2><div class=\"content-wrapper\"><p>Le film Presto &#8211; Perfect Sound de Manon de Boer montre le compositeur et violoniste George Van Dam interpr\u00e9tant le quatri\u00e8me mouvement d&rsquo;une sonate pour violon de Bartok. Pour obtenir la bande sonore \u00ab parfaite \u00bb, Manon de Boer a mont\u00e9 la piste audio \u00e0 partir des cinq enregistrements diff\u00e9rents avec l&rsquo;interpr\u00e8te, puis a mont\u00e9 le film en fonction de cette bande sonore. En permettant \u00e0 la s\u00e9quence audio de dicter l&rsquo;image \u00e0 l&rsquo;\u00e9cran, de Boer inverse la domination traditionnelle de l&rsquo;image sur le son au cin\u00e9ma. Le film est une m\u00e9ditation sur la relation entre le son et l&rsquo;image et offre une r\u00e9flexion intense sur un moment de concentration cr\u00e9ative, lorsque le sujet est totalement absorb\u00e9, presque comme s&rsquo;il \u00e9tait en d\u00e9calage avec le monde qui l&rsquo;entoure.<\/p>\n<p>Installation 35mm\/vid\u00e9o, couleur, 4:3, dolby surround, GB, 2006, 6&prime;<\/p>\n<p>Musique Sonate pour violon seul, Sz117, Presto (version avec micro-intervalles) de B\u00e9la Bartok<br \/>\nInterpr\u00e9t\u00e9e par George van Dam<br \/>\nImage Christophe Bouckaert<br \/>\nPrise de son Jarek Frankowski, Bastien Gilson (enregistrements acoustiques)<br \/>\nMontage sonore George van Dam, Jarek Frankowski &amp; Bastien Gilson<br \/>\nMixage final Manu de Boissieu (Alea Jacta Post-Production)<br \/>\nEtalonnage Roger Veroenen<br \/>\nProducteur ex\u00e9cutif Julien Sigalas<br \/>\nProduit par Manon de Boer<\/p>\n<\/div><\/section>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"786\" src=\"https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/sequenza-1024x786.jpg\" alt=\"\" class=\"wp-image-8018\" style=\"width:572px;height:auto\" srcset=\"https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/sequenza-1024x786.jpg 1024w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/sequenza-300x230.jpg 300w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/sequenza-768x590.jpg 768w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/sequenza-1200x921.jpg 1200w, https:\/\/soundimageculture.org\/wp-content\/uploads\/2025\/03\/sequenza.jpg 1403w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<div style=\"height:46px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<section id=\"sic-regular-text-block_83c8bb7318688fa60a0ffe5457298c58\" class=\"sic-regular-text single-column\"><h2 class=\"section-title page-title\">sequenza (de Manon de Boer et George van Dam) &#8211;  14 min<\/h2><div class=\"content-wrapper\"><p>sequenza est un projet de film exp\u00e9rimental de Manon de Boer et George van Dam bas\u00e9 sur la composition Sequenza VIII pour violon solo de Luciano Berio.<\/p>\n<p>16 mm transf\u00e9r\u00e9 sur vid\u00e9o HD, couleur, 4:3, st\u00e9r\u00e9o, BE, 2014, 14&prime;.<\/p>\n<p>Cin\u00e9matographie L\u00e9o Lef\u00e8vre<br \/>\nMontage image Manon de Boer &amp; George van Dam<br \/>\nMontage son George van Dam<br \/>\nMusique Sequenza VIII pour violon de Luciano Berio<br \/>\nMusique interpr\u00e9t\u00e9e par George van Dam<br \/>\nEnregistrement sonore et mastering Jaroslaw Frankowski \u00e0 Acoustic Recordings Studio Brussels<br \/>\nProduit par Auguste Orts<br \/>\nAvec le soutien de Museumcultuur Strombeek\/Gent, Vlaamse Gemeenschapscommissie &amp; Festival International d&rsquo;Art de Toulouse<\/p>\n<\/div><\/section>\n\n<section id=\"sic-regular-text-block_643535c34e8e5eac28d66b309f731e5e\" class=\"sic-regular-text two-columns\"><h2 class=\"section-title page-title\">A propos de George van Dam<\/h2><div class=\"content-wrapper\"><p>George van Dam s&rsquo;est souvent produit avec des ensembles de musique nouvelle, notamment l&rsquo;Ensemble Modern Frankfurt, MusikFabrik, l&rsquo;Ensemble Musiques Nouvelles, le Quatuor Quadro, Spectra, la Junge Deutsche Philharmonie et Ictus, dont il est l&rsquo;un des membres fondateurs. Dans ce cadre, ou en tant que soliste, il a travaill\u00e9 avec des compositeurs majeurs d&rsquo;aujourd&rsquo;hui (Ad\u00e8s, Aperghis, Benjamin, Chin, E\u00f6tvos, Francesconi, Goeyvaerts, Harvey, Hosokawa, Kagel, Kurt\u00e0g, Ligeti, Mamiya, Terry Riley, Steve Reich, Rzewski, Saariaho, Stockhausen, Joji Yuasa, parmi d&rsquo;autres).<\/p>\n<p>Tr\u00e8s actif dans le monde de la danse et du th\u00e9\u00e2tre, il a accompagn\u00e9 des productions de Rosas\/Anne Teresa de Keersmaeker (notamment Achterland et Partita2 au violon baroque), Josse De Pauw (Muziek LOD, Transparant), Ultima Vez\/Wim Vandekeybus, Ballet de Marseille, Needcompany\/Jan Lauwers, Kaaitheater\/Jan Ritsema.<\/p>\n<p>George van Dam a \u00e9tudi\u00e9 le violon avec Georges Octors, Jacques Israelevitch et d&rsquo;autres, et a suivi des master classes avec Dorothy DeLay, Zina\u00efda Gilels, Albert Markov, Aaron Rosand et Rainer Kussmaul.<\/p>\n<p>Son \u0153uvre de compositeur comprend de la musique de chambre, les cycles de chansons Engel-Lieder pour James Bowman, Lorca Songs, Melanchotopia Songs (en collaboration avec Claron McFadden), un concerto pour violon avec orchestre de timbales pour le Drumming Grupo Percuss\u00e3o Porto, de la musique pour des spectacles de th\u00e9\u00e2tre et de danse, ainsi que des projets de collaboration avec les artistes visuels Manon de Boer, Angela Bulloch, Trudo Engels, Ana Torfs et d&rsquo;autres encore.<br \/>\nIl a compos\u00e9 et produit plusieurs musiques de film (prix Plateau au festival du film de Gand en 2005), dont la r\u00e9cente production <em>The Chapel<\/em> de Dominique Deruddere. George van Dam a \u00e9tudi\u00e9 le clavecin avec Robert Kohnen, Elisabeth Joy\u00e9 et lors de masterclasses avec Ketil Haugsand et Bob van Asperen.<\/p>\n<p><a href=\"https:\/\/georgevandam.com\/\">https:\/\/georgevandam.com\/<\/a><\/p>\n<\/div><\/section>\n\n<section id=\"sic-regular-text-block_50eb1d2b041b2dfd4ed246efd97604cb\" class=\"sic-regular-text single-column\"><h2 class=\"section-title page-title\">Informations pratiques<\/h2><div class=\"content-wrapper\"><p>Date: vendredi 25 avril \u00a02025<br \/>\nHeures: 10:00\u201313:00<br \/>\nLieu: Pianofabriek (rue du Fort 35, 1060 Saint-Gilles)<\/p>\n<p>Entr\u00e9e gratuite, sur inscription uniquement (nombre de places limit\u00e9).<br \/>\nSi vous souhaitez participer, veuillez nous contacter \u00e0 l\u2019adresse suivante : soundimageculture@gmail.com<\/p>\n<\/div><\/section>","protected":false},"excerpt":{"rendered":"<p>Etude de cas, par George van Damvendredi 25 avril 202510:00\u201313:00Pianofabriek (Bruxelles)<\/p>\n","protected":false},"author":2,"featured_media":8003,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[59],"tags":[],"class_list":["post-8109","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-case-study-fr"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.0 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>George van Dam: Presto, Perfect Sound and Sequenza &#8211; 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