Daniel Schell

A short biography of Daniel Schell

Operas

"Hygiène de l'Assassin", (1996) based on the novel by Amélie Nothomb.

Opera

Music from Daniel Schell (© Sabam 1995)
Libretto from Daniel Schell (© Sabam 1995) in collaboration with and based on the novel by Amélie NOTHOMB „ Hygiène de l’Assassin" published by Albin Michel; Paris (© 1992)

Characters

Prétextat Tach, 83	Nobel prize	Bass-Baryton
Nina, 30	5thjournalist	Soprano
Furet	1st journalist	Counter-ténor
Coq	2d journalist	Tenor
Singe	3d journalist	actor
Sanglier	4th journalist	Baryton
Souris	a journalist	Mezzo-Soprano
Mésange	a journalist	Soprano
The nurse	actor
Grand Choir

Opera Royal de Wallonie, Première February 11 2000.

New production from the ORW, (General Director: Jean-Louis Grinda) .

Musical Direction : Jean-Pierre Haeck. Stage direction: Frederic Roels.
Costumes and set: Valérie Urbain.
Featuring Gilles Wiernik (Tach), Nina, Marcel Arpots (Journaliste Furet), Christine Solhosse (Journaliste Coq), Patrick Pircak ( Journaliste Sanglier), Chamber orchestra from ORW.

The première hapened on February 11, 2000 in Liège.

(photo © Opera Royal de Wallonie ORW Jacky Croisier)

Création:

"Hygiène de l'Assassin", a command of L'L, Michèle Braconnier, from the Communauté Française de Belgique and the Aeronef of Lille, Jean-Pascal Reux, was created in Anderlecht, Brussels, Ecole des Vétérinaires, on November 15 95 and in Lille, Aeronef on December 1st. Musical conductor: Marc Michael De Smet. Stage director: Jacky Lautem.

Singrs : Prétextat Tach, Gilles Wiernik - Nina, Marie-Paule Fayt - Furet, Jean Fürst - Coq, Aldo de Vernati - Sanglier et Singe, Thierry Marchant - Souris, Martje vande Ghinste -Mésange, Cécile Kempenaars -

Nina: Marie-Paule Fayt and the journalist Sanglier: Thierry Marchant in the stage direction of Jacky Lautem

Musicians: Ensemble Karo with Emmanuel Suys: clarinet - Jan Kuijken: cello - Luc Gerard: electronic keyboards - Stefan Poelmans: harmonium - Wolfgang Daiss: tiptar - Pierre Narcisse: percussion, tabla . Electronics by Markus Reuter and Daniel Schell (computer programming). Scores by Bert Cornelis and Claudia Wester.

Choir : Ex Tempore-Goeyvaerts Consort avec Veerle Verhaege (Sop), Greta Joris (Alt), Vera Van de Sompele (Alt), Dimitry Goethals ( C.Ten) , Tom Denys (Ten) , Gert Dhaene (ten), Kobe Bayens (ten) , Rudy Tambuyser (bas), Bart Tambuyser (Bas), Joachim Brachse (bas) .
Set: José Froment - Costumes: Agnès Dubois - Technical direction: Philippe Warrant- Make-up: Jean-Pierre Finotto
Production: "L’ L" , Bruxelles, Michèle Braconnier

In 1996: Astrid Vehstedt reworked the stage direction. - Nina : Anne Horbach -
A CD (Clic Music) is available from this version.

Nina: Anne Horbach - Prétextat Tach: Gilles Wiernik in the stage direction of Astrid Vehstedt

Plan:

Scene 1:	Obscurity	Tach and the journalist Furet. In the Café 1: Souris, Furet, Coq and Sanglier, the Grand Choir
Scene 2 :	The dinner and the expurgation	Tach (silent) , Coq (sung), Singe (spoken), l’Infirmière(spoken). In the Café 2: Souris, Singe and Sanglier , the Grand Choir
Scene 3	The bath	Tach (silent), Sanglier (sung) et l’infirmière (silent). In theCafé 3 : Furet, Coq and Sanglier, the Grand Choir
Scene 4	The strangulation	Tach and the journalist Nina Nina, Souris, Mésange, Furet, Coq, Sanglier, and Tach. The Grand Choir

Résumé

The complete resumé in French on Hygiène

Notes by Daniel Schell

Press:

"Opéra international" - april 2000

Medias

Score

"Les Combustibles", (1997) based on the novel by Amélie Nothomb

Infos

Opéra

Musique de Daniel Schell . Livret de Daniel Schell sur base du roman d’Amélie Nothomb, C. Albin Michel 1994
Création:
Les 11, 12 et 13 décembre 1997 au XXe Théatre, Paris, sur la demande de Bruno Letort.
Puis au Musée des Beaux-Arts de Lille, en Mars 1998.
Commande du Ministère de la Communauté Française de Belgique.
Création Bruxelloise : Espace Senghor, 25-26 Septembre 1998.

Personnages

Le Professeur (50 )	Baryton basse	Alain Blairon
Daniel (30 ), assistant du Professeur	baryton	Thierry Vallier
Marina (20 ), étudiante de dernière année	soprano	Marie-Paule Fayt

Direction musicale et claviers : (Piano, harmonium, et orgue-synthétiseur) : Patrick Davin et Jean-Pierre Moemaers, en alternance.
Mise en scène: Daniel Donies
Costumes: Christine Flaschoen
Création des lumières: Xavier Lauwers & Michel Delvigne
Maquillages: Martine Lemaire
Production:L’L , Michèle Braconnier
Libretto & CD: de l'enregistrement des "Combustibles" au XXe Théatre, Paris, Décembre 1997 sont disponibles chez Clic Music.

L’action en quelques phrases:

Scène 1
D’après Amélie Nothomb: "Au fond de la pièce, une bibliothèque, surchargée de livres, couvre tout le mur. Le reste de la salle frappe par son dénuement: ni table, ni bureau, ni fauteuil, seulement quelques chaises en bois et, à droite, un énorme poêle en fonte." Dans le mise en scène de Daniel Donies: La pièce principale d’un petit appartement. Côté jardin une porte monte à la chambre. Côté cour la porte de’entrée de l’appartement.
L’action se situe pendant une guerre Barbare, non précisée. Les personnages sont professeurs et élèves du Département de Littérature de l’Université. Le Professeur, 50 ans, discute livres avec son assistant Daniel, 30 ans qui partage son appartement avec lui. On est en plein coeur d’un hiver rigoureux et le combustible manque cruellement. Plus de chaises, plus de meubles, plus rien à brûler. Le Professeur propose plutôt à Daniel d’aller se réchauffer à l’Université quand elle n’est pas bombardée. Entre Marina, 20 ans, l’amie et étudiante de Daniel. Le Professeur rappelle à Daniel que ce dernier change de "fiancée" chaque année. Daniel lui assure qu’avec Marina ce ne sera pas la même chose: il l’aime. Marina n’y croit pas plus que ça et lui reproche son inconstance en le comparant au Pâris, coureur de femmes, de l’Illiade. Pour se réchauffer, elle leur propose de brûler plutôt les livres qui sont dans la bibliothèque du Professeur. Brûler un livre, mais lequel? Ils n’arrivent pas à se mettre d’accord sur la "valeur littéraire" comparée d’auteurs comme Kleinbettingen ou Sterpenich. Marina s’en va.
Le Professeur et Daniel discutent. Poser la question "Quel livre brûler?" revient au même que " Quel livre emmèneriez-vous sur une île déserte?". Avant de brûler les livres, il faudrait les apprendre par coeur, du moins les bons. On le faisait bien dans l’antiquité.Le Professeur enseigne donc à Daniel le rituel d’apprentissage de la Veda. Rentre Marina. Terrorisée, elle annonce que la cité universitaire a été bombardée.

Scène 2
Le Professeur, Marina. Même pièce.
Marina s’interroge: "Me voyez-vous me marier? …Y a-t-il un sujet qui vaille au coeur d’un poêle?". Elle est d’avis que non. "L’enfer, c’est le froid. Le Professeur l’invite à bouger, à sortir. Mais comment pourrait-elle sortir, alors qu’on se fait tuer dans la rue. Se suicider, facile. Il suffit d’aller se promener sur la grand-place pour attraper une balle. Marina annonce qu’après le dernier livre, c’est ce qu’elle fera.
Le Professeur lui propose de danser. Un climat d’érotisme sur le mode attraction-répulsion s’installe entre eux. Elle couche avec lui pour profiter "de son ventre brûlant".

Scène 3
Daniel, Le Professeur, Marina. Même pièce.
Daniel et Le Professeur ont passé la nuit à étudier les dix derniers ouvrages par coeur, comme le faisaient les Aèdes pour préserver l’Illiade. Ils reparlent du dernier livre à brûler. Le Professeur s’en désintéresse. Il ne pense plus lui aussi qu’à avoir chaud. Pourtant quand Daniel propose de brûler Le Bal de l’Observatoire de Blatek, Le Professeur refuse soudain. Il pense à l’histoire d’amour des adolescents Larissa et Jaromil, à la scène du bal, et aux scènes de la Genèse auxquelles il est fait allusion: le match d’impro avec pour sujet le combat de Iaacob et d’Elohim, ou encore le récit d’Adam et Eve…
Marina rentre. Daniel sait qu’elle a couché avec Le Professeur. Elle ne se cache pas de ce répugnant moment. "Je l’ai fait uniquement pour avoir chaud" dit-elle. La tension se cristallise sur Le Bal de l’Observatoire, dernier refuge de la beauté, dernier vestige de la civilisation. Marina supplie qu’on ne le brûle pas. En vain. Le Professeur jette le livre au feu. Marina se précipite dehors, vers cette "Grand-Place" où les passants sont abattus par les franc-tireurs. Daniel se précipite pour tenter de la rattraper.
Profitant des dernières minutes de chaleur, Le Professeur soliloque. Il va aller retrouver les deux cadavres sur la "Grand-Place" dès que le dernier "Combustible" sera brûlé. Il y restera le temps qu’il faudra.

Medias

Score

"Le Sabotage Amoureux", (5 Oct. 2006) based on the novel by Amélie Nothomb.

Infos

Description

Opera- Musical theatre with choregraphy

In one word

The love story between two young girls in the communist Beijing of 1974, amongst the (children) 'war' scenes and the “love sabotages –(bicycle races)".

Action

A woman, Amélie, remembers her childhood. We are in 1974 in Beijing. The little girl lives with her parents in the diplomatic ghetto of San Li Tun. The children of the ghetto, belonging to various nationalities spend most of their time doing the "war". In the middle of the summer and in this atmosphere of permanent hostility, appears suddenly an angel. Elena, a little Italian girl, is of great beauty. The life of Amélie will change. She will discover love and the suffering of love at the same time. Because Elena hardly reacts to to the attempts of Amélie who desperately tries to come to her attention. The Autumn comes and with it, the jealousy. Elena has a fiancé, Fabrice, to whom she carries a lot of attention. Amélie is just ready to do anything to regain her love. So Elena orders that Amélie does 88 rounds of the yard. Her health, plagued by chronic asthma, will not resist. Winter has come. Amélie has decided to play the indifference. But as the Spring comes, her will will not resist. Amélie declares her love to the little Italian...

Inhoud (Nl)

Een vrouw – Amélie - denkt terug aan terug haar kindertijd. Wij bevinden ons in 1974, in Peking. Het kleine meisje woont samen met haar ouders in het diplomatische getto van San-Li-Tun. De kinderen van verschillende nationaliteiten die in dit getto wonen, brengen het grootste gedeelte van hun tijd door met oorlogje voeren. Plotseling duikt er, in deze permanente vijandige omgeving, een engel op in het midden van de zomer: Elena, een kleine, betoverend mooie Italiaanse. Het leven van Amélie krijgt een totaal nieuwe wending. Zij ontdekt de liefde, alsook de pijn die de liefde met zich brengt. Elena reageert immers nauwelijks op de wanhopige pogingen van het kleine meisje om haar aandacht te trekken. De herfst breekt los, samen met de jalouzie, want Elena schenkt veel meer aandacht aan een zekere Fabrice dan an Amélie, die tot alles bereid is voor Elena: Op verzoek van Elena, loopt Amélie 88 keerrond de speelplaats, terwijl haar gezondheid eronder lijdt. Het is nu winter. Amélie heeft beslist afstand te nemen van Elena. Maar, met de komst van de eerste lentezonnestralen, wordt haar wil gebroken. Het kleine meisje gaat eronder door en verklaart, zonder enig idee van de omvang ervan,haar liefde aan de kleine Italiaans.

Cast

Amélie-adulte:	Patricia Fernandez (mezzo)
Camarade Chang, Général Werner, Fabrice:	Patrick Delcour (baryton)
Amélie-enfant- dancers (in alternance)	Camille Delvaux, Cécile Ranzy, Coralie Matthys
Elena & dancers (in alternance)	Caroline Scholsem, Fanny Kaesmacher, Clara Rensonnet
Musicians rom the ORW Ensemble	Violin: Ludwig Marszalek / Cello: Jorin Jorden / Double bass: Pierre Boigelot / Flute: Luciano Zampieri
Percussion	Didier Bormans
Piano	Jean-Claude Van Rode
Trombone	Raphaël Robyns

Creation

October, 5, Liège, Belgium.

Opera Royal de Wallonie, director: Jean-Louis Grinda. Stage and dramaturgy: Frédéric Roels. Musical direction: Federico Santi. Choregraphy: Barry Collins. Stage sets and dresses: Valérie Urbain. Lights: Olivier Wéry.

(Photos ORW, Jacky Croisier)

Press

...Third and best opera of Daniel Schell and Amélie Nothomb... This "Sabotage" is finally closer to the theatre than opera, it takes inspiration from a piquant novel. It profits from the luminous vision of Fédéric Roels, the charm of the young dancers, the generosity of the interpreters: As many elements which explain why, during the second performance, the Theatre was full with a public of two generations younger than the opposite opera, and a particularly noisy success!

Martine D. Mergeay - La Libre Belgique

See the TV reportage of the RTBF (in French)
Emission "Hep Taxi!" with Dick Annegarn (2006-2007)

Medias

Score

"Les contes de l'Arbre Roi"

Infos

Description

Music: Daniel Schell
Libretto : Daniel Schell & Jean-Claude Servais. With the poems of Jacques Lacarrière and Alejandro Jodorowsky.
Decorations: Jean-Claude Servais
The booklet of the opera is based on the comics ‘Déesse blanche, déesse noire’ of Jean-Claude Servais

Details

In one word

Good and bad characters make a symbolical race to the King Tree - l'Arbre Roi -, tree of the good and the evil, located at the end of a large forest. The Gaya fairy drives their fate and regulates their ambulations. To achieve the goal of their search they cross the forest and meet a whole series of mythical characters, the geniuses of the forest. The ones are spirits of the good, the others are the evil and this duality gives its dynamics to the history.

The deep roots shelter the geniuses of the evil. They continuously try to slow down our heroes. On the opposite, the upper branches are the habitat of the gentles. Eventually, above the branches are the crowns, unfortunately out of the range of the small world of the forest. All inhabitants, however dream to reach them.

The moss is a network which covers the forest. It spies the traveller, attracts and captures his thoughts. It is at the same time bed and woman, moist, green and suave. It is a sea of intelligence. What it learns here is immediately transmitted over there. Thanks to the moss, true web of the forest, all is known everywhere.

Unfortunately, the King Tree has got a mysterious disease, and it is followed by the other trees of the forest. MAud will try to save them. She will dance with Beth le Bouleau (the Beech). She and her boyfriend Vivian, will fight against Vanessa and Jack who have brought the mysterious disease to the Forest.

Characters

List of the characters:

Maud:, 18 years old, fairy comes from the human world	soprano
Vanessa 18 years old, witch comes from the human world	alto
Vivian, friend of Maud	tenor
Jack, friend of Vanessa	barytone

The characters of the forest:

The fairy Gaya	Alto
The guard of the jewels	Counter-tenor
Anicet the Imp, spirit of good	Counter-tenor
Malicious the Troll, esprit du mal	Barytone-Bass
The little fairy Incantadès, spirit of good, at the orée of forest	Coloratur
The Roots, water plagues, evil spirit	Barytone-bass
The Branches, spirit of good	Counter-tenor
Tourmentine, diabolic grass tuft adhesive walkers	Alto
The Ogre, short-sighted giant	appeared
The Ogress, she keeps her seven children in her skirt so that the ogre (who sees nothing) does not eat them	Barytone-bass
The 7 childrens of the ogress	Small chorus of childrens
The Couzzietti : cursed bramble which hangs the feet of the walkers	Barytone-bass
The Red Bonnets, cruel beings which soak their cover-chief in blood.	Counter-tenor, coloratur
The Moss, spirit of the good, natural network circulator of the news in the forest. Corrode also the bars of the prisons.	Counter-tenor, alto
Heart

In total, the booklet is written in order to cumulate the following roles:
Coloratur: Incantandès fairy, Red Bonnets
Alto: Fairy Gaya, Tourmentine; the Foam.
Counter-tenor: the Guard of the jewels, Anicet, Branches, Red Bonnets , the Foam

Baritone Bass: Malicious the Troll, Roots, Ogresse, Couzietti.
The characters of the forest can thus be only allotted to 4 singers.
The total staff complement of the singers soloists is thus 8:
Coloratur, soprano, mezzo, alto, counter-tenor, tenor, baritone, baritone-bass.

Creation

Excerpts have been created in the Ville de Rambouillet in April 2006:
Mathilde Sevrin: soprano
Gregory Decerf: barytone
Ensemble du Conservatoire Royal de Mons.
Direction & piano: Jean-Philippe Collard-Neven.
Pauline Lantin, clarinet.

Hoat N'Guyen, violin.
Angélique Charbonnel, cello.
Christofel Delaat, double-bass.
Jerome Baudart, percussion.
With the financial support of the Ville de Rambouillet.
Simultaneaous creation: Espace Senghor, Brussels.

Medias

Score

"Alpe della luna"

Infos

Details

The action happens in a small village near the mountain. The inhabitants are 'carbonero', making their living with the production of wood coal.

Résumé

Act 1 Alpe della Luna

Scène 1: The sting of a bee and the waist of a wasp

The ballroom of the hotel "La Pierre en l'Air". Rudi. a pop singer, dances on stage. Pola. a young lady. admires him. Seduction.. She takes Rudi to the first floor. Another customer, Bademeister Mario, is making a lot of noise.

Sc�ne 2: The wedding

Pola and Rudi get married.

Sc�ne 3:He sells like hell

Monsieur Woodbury, Director and his secretary Yvette are happy. Rudi's record 'Du isst my paradiss' is a world hit.

Scène 4: The first of May.

One year later, in the Alpe della Luna, a small village. Pola, Rudi and their newborn daughter Lili, enjoy a quiet and happy life. Sudden obsession of Rudi to Pola 'Was I your first man on our wedding night ?'

Act 2: The woman with glasses

Scène 1: I want to have you

Close to them lives Tudu, the woman with glasses. She is desperately in love with Bademeister Mario. She is unfortunately addict to the Chimic Bonus, swallowing tablets all the time.

Scène 2: The concert in the Alpe

A large crowd attends Rudi's concert. Tudu however manages to get an autograph from him.

Sc�ne 3: The trail

Tudu brings Rudi home. She puts him her glasses..Their night...

Scène 4: The flying deer

Pola and Rudi celebrate their wedding anniversary. Rudi falls asleep and dreams of a flying deer which takes him in the air. Telephone ! It's Tudu. Rudi cannot hide his trouble. Pola is getting suspicious. She unfortunately wounds herself with an infected nail! Rudi does not care, and leaves her to meet Tudu: 'A rehearsal'he lies.

Sc�ne 5: The Karo machine

Rudi rehearses with his musicians. He prepares his new tune 'Love is a battle' on the Karo-Machine, a device he uses for composing. Anxious. He throws the musicians out. At last comes Tudu, unfortunately accompanied by Bademeister Mario. Rudi tries nevertheless to kiss her . ' You stick' says Tudu In the meantime, Bademeister Mario is having too deep an interrest in the composing machine.

Act 3: Throwing the stone in the air

Sc�ne 1: The success

Rudi's records do not sell anymore. Mr Woodbury decides to abandon him. Meanwhile he launches Bademeister Mario's new hit 'Alpe della Luna' with a huge promotion budget. Yvette however tries to defend Rudi.

Scène 2: You better give everything to the poor

Rudi tries desperately to get Tudu on the phone. An unknown man answers...

Sc�ne 3: Our love is dead, my Love.

The infection has spread out from Pola's arm to the whole body. The Dottore and the nurse Schwester Catherine do warn Rudi of the seriousness of the disease. Rudi does not care. Instead, he tries to convince Pola to take him back. Extremely weak, Pola refuses. Rudi then leaves. Left alone, Pola dies sadly...

Scène 4: In the Pierre en l'Air

Tudu is having fun with her friends Filip, Paul and Gesine. Taken by jealousy, Rudi forces Tudu to follow him. But she does not want him anymore.

Act 4 : The Summit was just before

Sc�ne 1: The Polynoms

Rudi has caught an infamous disease. The Dottore and Schwester - Catherine do torment him.

Scène 2: The banquet

Mr Woodbury offers a banquet for Bademeister Mario and his 5 million pieces of 'Alpe della Luna' sold. Rudi insists on singing 'Love is a battle', only to meet the coldest indifference. Extremely disappointed, he starts to drink and takes too much of the Chimic Bonus.

Bademeister Mario insults him and informs him abruptly of the death of Pola. Rudi loses his mind. Afraid by the assistance, he takes his daughter Lili in his arms and jumps through the window.

***

Notes:

The vocal composition

It is the intention of the composer to oppose the character of Rudi, to the character of his main rivals Mr Woodburv and Bademeister Mario.

In the writing, Rudi, the 'pop' singer has a score of an 'uneducated' voice, using un-classical melodies, out of range notes, high falsetti and so on, as opposed to the classical and powerful character of the educated tenor and baryton.

During the writing. the composer had in mind, a young singer Bernard Plouvier, belonging to the edge 'pop' group Ninove. who was fully educated as a violinist but not as a singer. He was therefore able to master his part with a 'harsh' voice, in other words, without the technique of the opera tenor.

The orchestration

The orchestra is composed of three groups: the Arkestra Kult; the Choro Primo and the Sinfonico.

On stage the orchestra are the Arkestra Kult; Rudi's group, and the Choro Primo, the choir.

Cast of Characters

Pola	Soprano nerviosa
Tudu	Mezzo fatale
Rudi	Tenor populare
Bademeister Mario	Baryton- Basso guerriero
Mr Woodbury	Tenorito irritanto de director
Yvette	Alto secretarista
Filip	Tenor hero�co
Paul	Basse � pomme d"Adam
Gesine	Soprano agile
Il Dottore	Basso scientifico
Schwester Catherine	Soprano giocosa
Lili	Filletta de Rudi e Pola
Arkestra Kult	Rudi�s musicians
Koro Primo	Choeur des charbonniers et des charbonni�res

Medias

Karo

"L'enfoui fuit", (1990, 1998) sextet for tiptar with music theatre.

Infos

L'enfoui Fuit

Electro-acoustic sextet from Daniel Schell. Duration: about one hour. With acting by the musicians, scénettes and reading of texts by A.David-Néel, Max Stirner, E.Reclus.
Ensemble Karo, direction Ken Ichi Nakagawa, with Wolfgang Daiss (tap-guitar), Judit Gudor (clarinet), Marie-Paule Verlinden (French Horn), François Deppe (cello), Jean-Luc Plouvier (synthesiser), Pierre Narcisse (tabla, percussion).

A short description follows. A complete description in French. Enfoui_Fuit_Français

Orchestration

"L'Enfoui fuit" - approximative translation 'The burried escapes' - is a concerto for sextett, involving an important part and soloing for the tiptar.

Argument

L'Enfoui involves also some theatrality and movements by the musicians. For instance, a marble gliding on the strings of the tiptar produces not only a wonderfull sound, but also a movement which will be imitated by the other musicians under various forms. 'L'enfoui' is a humoristic view of the 'devil' . Whatever our deeds, we produce only causes and effects, a bit like the karma in the buddhism.
The music produces this effect by oscillations and trips around some stable characteristic elements such as natural events, melodies, bird songs, chords or even fixed points in a rhythmic cycle.
The musicians have also to improvise, read and perform acting.

Alexandra David-Néel
The texts and ideas come from the famous orientalist and philosopher Alexandra David-Néel who lived in Brussels around 1880. Her father, was a political refugee and Brussels was at the time a harbour for many "anarchists" exilated from their country. reading include Karl Marx, Elysée Reclus and also the extraordinary 'The unique and his property by Max Stirner.

Summary
L'enfoui 01-"Quelques expériences naturelles"
The movement of balance, initiated by the marbles on the tiptar, will generate balance and glissandi for all the other musicians.
After a short trip, the piece ends up with a joyfull theme in 'carreau', a sort of cristalline jewel.

L'enfoui 02 Au monde enveloppé dans les ténèbres de l'ignorance
"Au monde enveloppé dans les ténèbres de l'ignorance, je donnerai le rayon de la meilleures science" ('Lalita vistara' quoted by A. David-Néel in La Lampe de Sagesse. )
This piece is first performed as a composition around a rhythmic cycle. Later on it will serve as a vehicle for a series of individual improvisation along some established rules. There are also tabla variations and group execution of claps and onmatopoeia singing.

L'enfoui 3 "Viens c'est l'heure, sors de ta maison, réfléchis"
A first part, "Le repos au delà de la joie", is symphonic and expresses the sunrise. The second uses a simple popular theme where the clarinet can danse.

L'enfoui 4 - Le réveil de l'habitant peint
The theme of this piece is the song of a blackbird of Suxy in the Belgian Ardennes. The composer found similarities with the themes of Ornette Coleman and orchestrated accordingly.

L'enfoui 5 - L'enjoué joué
The piece is about good resolutions and their future. One of them 'I shall not cheat my partner anymore' can bring dramatic consequences, especially when 'l'enjoué' is himself cheated. A contrapunctic treatment of several themes gives a picture of these errances. However, there is a funny ending to all stories, and so to the piece.

L'enfoui 6 "La joie d'être sauf après le nauffrage"
On a warm summer night, 'L'enfoui' finds his wife' in the arms of a concurrent. A succession of quiet romantic passages tiptar solo involving glissandi- with violent explosions of the ensemble.

L'enfoui 07 L'enchaînement infini
"Des causes et effets. Karma vipaaka" A duet tiptar-clarinett ends up in a majestuous end.

L'enfoui 08 Bah! Oublions tout ça!
'Let's forget everything' The musicians leave the room as a joyfull marching band.
.
Historique
"L'Enfoui fuit" had a first version in 1990. It was created in the Aeronef of Lille (command of Jean-Pascal Reux), and in Hildesheim (Uwe Kalwar) in presence of Emmett Chapman. Musicians: Dirk Descheemaeker (clar), Jan Kuijken (cello) Patrick Verstraete (cor), Jean-Luc Plouvier (synthé), Daniel Schell (tiptare), Pierre Narcisse (percussions)
The piece was recomposed in 1998 and presented in the Botanique , Brussels.
" L'Enfoui fuit" 1998 was made possible by a command from Mr & Mrs Werner Wobbe, by the Botanique, and by a grant from the Communauté Française de Belgique.

Score

If Windows They Have: "Rémi"

Infos

Score

"Gira Girasole", consult www.matson.it The Label

Infos

Gira Girasole

Daniel Schell & Karo
Music composed by Daniel Schell
Editore: Materiali Sonori, San Giovani Val d'Arno
Musicians: Dirk Descheemaeker (clarinet), Jan Kuijken: cello, Jean-Luc Manderlier: keyboards
Pierre Narcisse: tabla, percussion, Daniel Schell: tiptar. Produced by Arlo Bigazzi. Recorded by Patrick Hubard, Brussels.

All the music scores are on two albums:
'The Gira Girasole' for solo instruments in C
Contains the tiptar part, arrangements for the main instruments. Solo instrument in C (flute...)
'The Gira Girasole album' for clarinet in Bb
Contains the tiptar part, arrangements for the main instruments. Soloinstrument in Bb (clarinet...). This album contains also the three Italian Trios (da Balar, Fenesta, Notte d'estate) for clarinet Bb, cello, piano.
Published by Clic Music, Editore Materiali Sonori

Introduction: All the pieces are based on traditional folk melodies of Italy. There are about 50 of them which can be found explicitely, as in 'Bella Ciao', or hidden in some voices. As usually the the music was made with the karo optimisation algorithms and the borrowing to Indian forms, which are usual to my compositional language. In general I make a citation more or less recognisable of the original theme then I transform it progressively by various processes.

Costumi Bianchi 3:35, is a joyful 7/8 dance à la karo featuring the tiptar. 'Et chante le Rossignol' 4:32 is an orchestral development with a large organ solo influenced by Ollivier Messiaen.'Peine de l'amour' 2:18 is a two-voice invention for clarinet solo.'Prairie' 3:36 is an outsider. A film music Karo recorded for Young & Rubicam agency and which we found of interest. 'Ninna nanna' 3:09 and 2:00 are pieces which involve solo cello work inspired by the Kodaly cello sonata. 'Rosa' 3:00 is a joyful little piece involving frequent meter changes. (Original theme: la rosa lu ciardino). 'Gira Girasole'5:16 is a a full ensemble piece featuring also the voice of Isabella di Venosa. It is based on a kind of large loop with a metric involving added 16ths, again inspired by Olivier Messiaen. A written rubato clarinet solo flies over the strict metric. 'Bella Ciao' 4:06 is a typical example where the theme is citated as first then goes on various transformations. The most obvious involves local time stretching by adding short meter changes to the original 4/4. The harmonies are progressivley transformed by the usage of karo-s. 'Rythme des battipali" 2:45 is a quite piece involving a little instrumental trick. Dirk plays the clarinet only with the right hand and modulates the sound with short actions of the LH on the trill keys. These actions are simultneaously underlined by the keyboard. 'Cielo' 4:27 No mistery. This is typical Indian music with the tiptar improvising on the theme of Stelle and the tabla playing Rupak taal (7/4). 'Francesca da Rimini salvata' 2:06 is a joyful variation in 5/8 on the original melody of 'Tu voi marito, oh Nina'. Involves a tiptar solo. 'Stelle' 4:00 is based on the original 'Le stelle de lu cielu' (and other melodies) but also on a funny little Indian piece which I heard played on a kind of small vibraphone in rupak taal. 'Belis Maninis' 3:22 involves a lot of rythmic and metric activity, as well as an active contrapunctal treatment of the orchestral voices. . The tabla solo, by the way, is entirely written, and that was, I guess, one of the first of the genre...
There exists also a 'Gira Girasole' 2 in project. The CD is available from Clic music and contains the three Italian Trios played by Trio Harmonia, the string quartet 'Elementi di scienza Napolitana', the vocal ensemble 'Funtana'. Last but not least, Isabella di Venosa sings a capella the original songs which were the source of inspiration for Girasole 1.

A review by the tiptarist and writer Ray Ashley.
The CD I am referring to is Gira Girasole, by Daniels Schell and Karo.
This CD is on the Materialai Sonori label, in Italy, which is a division of Time Warner, so lets not go complaining that there is no major-label tap centric stuff. This CD is as good as it gets, and should not be too hard to find. It features the Stick, keyboards, clarinet, cello, and tablas.

What I like is the linearity of the music. The keyboard parts are single lines. The Stick has its distinctive sound in left and right hands, but there is interlocking counterpoint and linear lines in the (fourth tuned) bass. The Stick sound is at the center of the band, with low, growly bass and percussive highs. Of course, the clarinet and cello play songle lines and tablas provide great punctuation without the overbearing nature of a drum kit. All the parts interlock well throughout.

These songs represent a modern composition al style that is accessible at the same time. Though I am not an expert at Indian music, it is clear to me that Schell is influenced by Indian music in rhythm and melodic contour, without copying it outright. For instance this is not cheap 1960's "raga rock" where you have a buzzing sitar and tamboura with a few flat seconds thrown in. Rather, this is music that is driven by Indian tabla beats. The melodies have a slighty Indian quality, expecially the way that one istrument like the Stick may develop a melodic idea until it is fully formed, then repeat the idea a few times, then the whole band takes it up in unison. But the music goes beyond these eastern underpinnings with modulations and more modern harmonic language. Schell mentioned to me that all the tracks are ultimately based on Italian folk songs.

My favorite track is the title track, a meditative journey in a time signature that I have not deciphered yet! The opening track , "Costumi Bianchi" is a great opener which features the Stick in a very central role,with two handed playing which is augmented by interlocking parts from the cello and clarinet. Cello and Clarinet do get prominent unacompanied solos later in the album.

I have another Karo album which features the classic tune "Remi" which I'll have to review some other time."

Ray Ashley, October 2000.

Score

Other compositions

The Cos period (1968-1980)

Postaeolian train robbery (musea): "Babel"

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Viva Boma (musea): "Swiss Chalet"

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Pasiones (musea)

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Egmont (1980, 2003) with Dick Annegarn. Info: Egmont. . (Also available in Nederlands.) . CD available on www.lowlands.be.

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"If Windows they have" and "The secret of Bwlch" consult www.crammed.be Crammed Discs / Made To Measure / Part One

Optimal Music

The travelling Musician, Optimal Studies, Quelques Beaux Carreaux
Music related to optimality. Algorithmic, and operational research methods used in musical composition.

Ishango Oratorio (2003)

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A performance featuring music, jazz music , classical choir, dance and story telling about the jungle of Africa (also Bengal), the metaphoric animal short stories, the Ishango bone, as well as political subjects such as the child or the woman of Africa. Musical themes by Chris Joris and/or Daniel Schell.

Choir Music written by Daniel Schell on the text of various poets from Africa - Gcina Mhlophe (South Afrika, in Zulu), Chirikure Chirikure (Zimbabwe, in Shona), Titinga Pacere (Burkina Faso, in More), - and India - Lokenath Bhattacharya (Bengal, in Bengali).
Features the Symphonic Choir of Namur (CCFB, 70 chorists) under the direction of Denis Menier.. The percussionist Chris Joris Ensemble with Fabrice Alleman (sax), Chris Menten (bass), Daniel Schell (tap-guitar, Megatar tm, Stick tm, electronics), Dieudonn&ecute; Kabongo (jembe, story teller), Ken N'Diaye (jembe, story teller), Josephat (singer, dance, jembe).
Artistic Producer: Pascal Noël . Executive Production: Michel Pletinx MPM Triomus. Scientific advisor: Dirk Huylebrouck. Film director: Georges Camanayo. Communication: Heikki Länsipohja.

CD: 'Ishango' Lyrae, Universal.

The Oratorio Ishango was created in Palais des Beaux-Arts, Brussels, in November 2001. Then Maison de la Culture d'Arlon, September 2003, Capitole, Ghent November 2003. Théatre St Michel, Brussels, Nov 2003. Zuiderspershuis, Antwerp, December 2003.

Choir from Namur

Chris Joris Daniel Schell

The Ishango bone as an inspiration source
One of the interesting aspects of the Ishango bone is that it is engraved with bars which could be part of a mathematical enigma. We could have established a direct correspondence between the mathematics of the bone and the music. For instance, we could have used groups of 6 bars, followed by then 10, 12, establishihing a direct mapping between the bars of the bones and the bars of the music. But such process seems childish and is not to be found in the composition. The approach we used, and found more interesting, is to consider that the bone is a sign of intelligence in the early Africa, and that similar signs could be found today in the memoria humana, for instance in traditional stories and tales. In order to investigate this hypothesis, we have contacted prominent poets, mostly of Africa, and one of Bengal ( Bengal has also a jungle) and asked them for stories having a character of an archetype. We have discovered with them many metaphoric stories about the jungle, the animals, or the social characters. Some of them, like the story of the two eyes of the lion (see Pacere), seemed to us as old or even older than the Ishango bone...In this respect, we have considered that the engravings of the Ishango bone just tell us one of these eternal tales.

Poets of the spectacle Ishango

The texts of the following poets have been set into music by Daniel Schell for the Choeur de Namur, in order to create the spectacle Ishango.

Gcina Mhlophe
South Africa. Languages Zulu and English.
Singer, story-teller and poet.
Very popular in South Africa, she is the author of numerous tales on the animal world. She is also a politically active figure in the defence of African women's rights.

In the spectacle : African Woman, U fudukazi the tortoise.

Gcina Mhlophe

Chirikure Chirikure
Zimbabwe. Languages Shona and English.

Born 1962. In a rural area of Zimbabwe, in a Christian family but also close to traditional. Writes poems in Shona and presents them in High School. After his University graduate, he starts to perform all over the country and presents his poetry either with Traditional mbira band, or with an electric modern band.

Being a performer himself he plays for middle class audiences, and so he regrets that he does not touch the people from the villages. He considers himself as the poet of a Society in transition

His poetry is studied at Oxford and other known Anglo-Saxons Universities.

Music: Daniel Schell on themes by Chris Joris.
In the spectacle : Lizzards for fish, Mhakure the Cobra.

Chirikure and Daniel Schell (Photo Clic Music) Titinga Frederic Pacere
Burkina Faso. Languages More and French.
Writer of poetry and ethnography treaties on the meaning of masks, the language of tam tam and the practises of the More people. Pacere has been one of the most important contributor on the Ishango project. Specially important is the usage of tam-tams as a mean and language of communication in and between the village-s. In his poetry 'The Ishango bone' , Pacere suggests that column 1 and 3 of the bone sum up to 60, but column 2 to 48 . He asks 'Where is the difference' suggesting poetically a difference of 12, which is in fact the base of the antique calculation.
He founded the Museum of African Masks in Ouagadougou.
He is active in the defense of Human Rights in Africa. The Unicef has asked him to write a poem on the African child.
In the spectacle :Kamaange Le chien voleur, Nina Yibu Le lion, Le poème du tam-tam, Il est des enfants, The Ishango Bone

Daniel Schell & Titinga Pacere

Lokenath Bhattacharya
India (Bengal), France. Language: Bengali.
This well known poet has a large oeuvre. He has translated the poetry of Henri Michaux in Bengali language. Living in Paris, he represented there the Bengali litterary life.
He died recently in Egypt in a car accident.
In the spectacle : Shuopoka, la chenille.

The bone of Ishango
The bone of Ishangowas found in Africa in the years 1950 by Professor Heinzelin. It was situated in the village of Ishango, at the source of the Nil, between congo and Ouganda. It is 20.000 years old and can be considered as one of the first sign of a human intelligence. It is covered by marks - bar codes? - which could be a remarkable mathemathical enigma. It can be seen in the Museum of Natural History, Rue Vauthier in Brussels. Recently, the City of Brussels, has choosen the Ishango bone as a symbol of fraternity against racism.
Dirk Huylebrouck has written extensively over the Ishango bone. His most recent contribuution is in Kadath, April 2003 (in French).

The mathematics of the bone

Aparent number of bars per column (not always clear)

1st column 11 - 13 - 17 - 19
2d column 3 - 6 - 4 - 8 - 10 (grouped as 9 + 1 ) - 5 ( grouped as 1 + 4 ) - 5 - 7
3rd column 11 - 21 - 19 - 9
Possible Operations
In base 6
1st col 11=12-1 13=12+1 . 17=18-1 19=18+1

In base 12

The Sum per column: 60. 48 , 60

1st col:11 + 13 + 17 + 19 = 60
2d col: 3 + 6 + 4 + 8 + 10 + 5 + 5 + 7 = 48
3rd col: 11 + 21 + 19 + 9 = 60

with 60 = 5*12 and 48=4*12

In base 10

3rd col : 11=10+1 21=2*10+1 19=20-1 9=10-1
2nd col : 6+4=10 7+3=10 5+5=10 .

multiplication by a factor of 2

2d col: 6=3*2 8=4*2

All these calculations are speculations. The correspondence is not always uniform on the bone. For instance not all pair of numbers of column 2 sum up to 10. The number of bars is also not absolutely clear on the bone. Nevertheless, there is a remarkable evidence of intelligence and the possibility of a counting process, maybe in base 6/12, and that some 20.000 years ago. And that was enough to trigger our poetical creativity.

Notes by Daniel Schell

Score

If (from famous dialogs) (2003) for clarinet and piano. Musical theatre. Duration 15 min. Also in Dutch 'Als (van 'Beroemde Dialogen') ' vertaling Jeroen Wilhelmus.

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(from 'Famous dialogs') : (2003) for clarinet and piano. Musical theatre.

Duration: 15 min.

This piece emphasises on the communication between musicians.

Music: Three parts, I Slow, Rubato. II Medium. III Fast.
The music is based on the flou. Numerous special fingerings for the clarinet. Scales in parallel seconds for the piano.

Dialogs: Absurd? Can be freely arranged by the musicians between the musical parts. The text exists in French, English (see below) and Dutch (see below)

Creation : by Emmanuel Suys (clarinet Bb) and Jean-Pierre Delens (piano) . Festival Raoul De Smet. De Singel, Antwerpen

Publisher: Clic Music, Score plus text.

An excerpt from the text:

C Right. In other worlds. If this is early morning

P Right. Then there is communication

C crescendo Right. And there is communication between us.

P- Right. I mean, not only you and me. I mean all of us, you, and him shows, and him, here and elsewhere.

C _ Right. Then the sun will rise on a planet in peace.

P- Right. And this is evening.

C- Right. This is midday also.

P- Right. And I mean, not only us musicians. I mean also garage owners, rich tailors, soldiers, Belgian chocolate shops, hairdressers.

C. Right. If this is an early morning song, then be the humanity in peace.

P _ Right. In other words. If there is communication, there is peace

C & P Right, right, right. Three times right. sing It's a do, a re , a mi...

Daniel Schell.

Als (van Beroemde Dialogen)

Door Daniel Schell vertaling: Jeroen Wilhelmus

C: Juist. In andere werelden. Als dit de vroege ochtend is

P: Juist. Dan is er communicatie
C: crescendo Juist. Dan is er communicatie tussen ons.P: Juist. Ik bedoel, niet alleen u en ik. Ik bedoel ons allemaal, u,en hij -toont dit-, en hij, hier en elders.

C: Juist. Dan zal de zon opkomen op een vredige planeet.
P: Juist. En dit is de avond.
C : Juist. Dit is ook de middag.

P: Juist. En ik bedoel, niet alleen ons, de musici. Ik bedoel ook garage-eigenaars, rijke kleermakers, militairen, Belgian chocoladewinkels, kappers.
C: Juist. Als dit een vroeg ochtendlied is, dan zal de mensheid vrede kennen.

P: Juist. Met andere woorden. Als er communicatie is, is er vrede.

C & P: Juist, juist, juist. Drie keer juist. Zingen. Het is een do, een re, eenmi...

Score

"Digue". on the poem by Christian Dotremont (2004-2005). For voice, cello and guitars. With projections of photographies by Oscar Schellekens and Serge Vandercam, as well as "logogrammes".

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Christian Dotremont sur la digue d'Ostende (Photo O.Schellekens c)

Beyond his important poetic work, Christian Dotremont also developped an important graphic work, including the 'logogrammes', a sort of abstract calligraphy..

Logogrammes by Christian Dotremont (C Guy Dotremont)

In one of his most remarkable collaboration with Cobra artists such as Jorn, Alechinsky, Vandercam, and others, Dotremont started to write poems on their pictures and sculptures. He acted as a kind of catalyser. Those works are now considedred as amongst the strongest of the Cobra movement.

One day there was this wonderful poem 'Digues'. This curious little book contains an abstract poem of about twenty pages. It was ended in 1957 and published in Octobre 1959. The original print - today a collector's item - contains photos taken by Oscar Schellekens. Himself and Serge Vandercam, both photographer, went with Dotremont on the seawall in Ostend, in order to take pictures of him. There was this sort of 'happening' because both photographers were turning around Christian..

A logogramme, « Rien qu’à entendre cette pluie… » taken from teh book Logogramme II, is presented as a 'score' to the cellist, and is simultaneaously projected on a screen, therefore also an essential part of the set. The cellist reflects the movements of the 'logogrammes', in order to produce an expression dynamic. The concert happens in front of those 'logograms' as well as the famous pictures of 'Digue'.

Concert-Musical Theatre: The students and teachers of the Conservatoire Royal de Mons, Directeur: André Foulon.

With Mathilde Sevrin: Soprano /Angelique Charbonnel: cello / Magali Rischette & Adrien Brogna: Guitares. With the collaboration of Jean-Philippe Collard-Neven, Chambre music teacher.

Création: Chant 1 Exposition Dotremont, Musée des Beaux-Arts de Mons. Complete work (Chants 1 à 5) Musées d'Ixelles, Samedi 3 Septembre, 11h, during the exhibition of 'Les Dotremont d'Alechinsky'. With the kind help and authorisation of Guy Dotremont, Talia & Joel Vandercam, Pierre Alechinsky, and the Musée d'Ixelles.

Medias

Score

"Trois façons de regarder le soleil"

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"L'Unes"

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Score

Arrangements

Concerto in D for violon & orchestra, Paganini: arrangement for harmony orchestra, 'La Musique Des Guides'

Daniel Schell in India

India Tour 2005

Research

The Karo Theory

Operas

Opera

Characters

Opera Royal de Wallonie, Première February 11 2000.

Création:

Plan:

Résumé

Press:

Opéra

Personnages

L’action en quelques phrases:

Description

Details

In one word

Characters

List of the characters:

The characters of the forest:

Creation

Act 1 Alpe della Luna

Scène 1: The sting of a bee and the waist of a wasp

Sc�ne 2: The wedding

Sc�ne 3:He sells like hell

Scène 4: The first of May.

Act 2: The woman with glasses

Scène 1: I want to have you

Scène 2: The concert in the Alpe

Sc�ne 3: The trail

Scène 4: The flying deer

Sc�ne 5: The Karo machine

Act 3: Throwing the stone in the air

Sc�ne 1: The success

Scène 2: You better give everything to the poor

Sc�ne 3: Our love is dead, my Love.

Scène 4: In the Pierre en l'Air

Act 4 : The Summit was just before

Sc�ne 1: The Polynoms

Scène 2: The banquet

Notes:

The vocal composition

The orchestration

Cast of Characters

Karo

Rémi face au lacis doré

Other compositions

The Cos period (1968-1980)

Optimal Music

Select an excerpt:

Arrangements

Daniel Schell in India

Research