Well, the week has flown by and ,as ever, I ask my guests their hoped-for future
Karen:Where do you see yourself in 10 years’ time?
Dominic:C’est une question très difficile! Il y a tellement de choses qui peuvent changer en 10 ans.Une pensée sur laquelle je m’appuie souvent est la suivante : cela a du sens de continuer dans une voie qu’on approfondit au quotidien depuis longtemps même si on traverse des moments difficiles.
This is a very difficult question! There are so many things that can change in 10 years, a thought I often lean on is this: it makes sense to continue on a path that we have been pursuing every day for a long time even though we are going through difficult times.
Karen: It’s been a pleasure getting to know Dominic. Please get in touch via my contact page if you want to know more!
In this part of the interview we talk about dance culture:
Karen:Would you say there are different approaches to Ballet Class in, say France to where you currently work in Graz?
Dominic:En France, en danse classique, la tradition de l’Opéra de Paris est très présente dans les structures d’enseignement. Les professeurs sont souvent soit directement issus de cette Ecole soit eux-mêmes formés par des professeurs de l’Opéra. Je retrouve cette esthétique à Graz quand un professeur invité Français vient passer quelques semaines avec nous. Ici, je suis plus entouré de professeurs issus de la tradition Russe.Et pour l’anecdote, la plus grosse différence culturelle entre l’Autriche et la France est que le cours commence tous les jours sans exception précisément à l’heure!! En France, c’est plus souple…
In France, in classical dance, the tradition of the Paris Opera is very present in educational structures. The teachers are often either directly from this School or themselves trained by teachers from the Opera. I notice this aesthetic in Graz when a French guest professor comes to spend a few weeks with us. Here, I am more surrounded by teachers from the Russian tradition.And as an anecdote, the biggest cultural difference between Austria and France is that the course starts every day without exception precisely on time !! In France, it’s more flexible …
Karen: Wow! Yes I have an anecdote too….If I work in an orchestra, we have warmed up and play the first note with the conductor’s downbeat at 10am. In Ballet Companies we start the first movement at 10am and if a dancer is late they do Class alone in the adjoining studio. In Acting, we put the kettle on at 10am to listen for 45 minutes to actors telling us about ‘the job that got away’!
Day 3 of our interview, we talk about Dominic’s approach to music.
Karen : I notice that you have a very interesting approach to rhythmic complexity in your work. What is your philosophy on these great music structures you create? And whilst you tell us, could you explain your joy of working in tricky key signatures!
Dominic:J’ai commencé à accompagner la danse en imitant un pianiste que le professeur de danse m’avait recommandé et j’ai ensuite évolué en trouvant sans cesse d’autres modèles. Je pense qu’aujourd’hui ma façon d’accompagner est une synthèse de toutes ces influences. On se rend compte jour après jour de ce qui fonctionne bien et de ce qu’il faut éviter… Je travaille aussi constamment pour le cours de nouvelles pièces écrites par des compositeurs de toutes les époques. Elles influencent à coup sûr ma façon d’improviser ou de composer. Concernant les tonalités. Peut-être par peur de la monotonie, je fais l’effort de toujours changer de tonalité (je lutte pour ne pas trop jouer en mineur!). Le livre reflète cela.
I started to accompany dance by imitating a pianist that the dance teacher recommended to me and then I evolved by constantly finding other models. I think that today my way of supporting is a synthesis of all these influences. We realize day after day what works well and what to avoid … I also constantly look for new pieces written by composers from all eras. They definitely influence my way of improvising or composing. Regarding tonality. Perhaps out of fear of monotony, I make the effort to always change the key (I struggle not to play too much in minor!). The book reflects this.
This week as promised, I am publishing my interview with composer and pianist Dominic Faricier. Each day we unpack another layer of his musical journey. Dom works in Graz at the Opera Ballet in Graz,Austria. Enjoy this golden conversation in French and English!
Karen : Your title ‘Experimental Music for Barre’ is a really exciting prospect. Could you explain the title of your book a little more, and if you might be making a version for Centre too?
Dominic : Tout d’abord, merci Karen de m’avoir encouragé et aidé dans la réalisation de ce livre. Si je me souviens bien, c’est toi-même qui as suggéré l’idée de ce titre. Il m’a tout de suite plu car il laisse une certaine ouverture. Ce livre veut présenter une façon de faire parmi une multitude.
Pour aller dans ce sens, les introductions et les fins d’exercices sont écrites en petites notes, comme pour dire “voici une idée mais sentez-vous libre de faire autre chose”.
Oui, j’aimerais bien qu’il y ait une suite. L’idée serait de réaliser un livre pour le milieu et peut-être un troisième pour une classe sur pointes.
First of all, thank you Karen for encouraging and helping me in the making of this book. If I remember
correctly, it was you yourself who suggested the idea for this title. I immediately liked it because it leaves a certain openness. This book wants to present a way of doing things among a multitude. To support this, the introductions and endings of the exercises are written in small notes, as if to say “here is an idea but feel free to do something else”. Yes, I hope there will soon be a sequel. The idea would be to make a book for the middle and maybe a third for a class on pointe.
It is with greatest delight I am introducing you to a new member of the team! Dominic is one of the most excellent pianists for dance class in Europe and has just produced his first – of three – scores of music for free class. Titled Experimental Music for Ballet Class – Part 1: Barre. His music is experimental only in that it stretches our imagination far and beyond. Please have a look at the Music Scores page here https://www.artofclass.online/product/experimental-music-for-barre-by-dominic-faricier/ to enjoy a preview of his work. Tomorrow, and all through this week I shall be publishing a beautiful interview with him in French. Do not worry, we are translating as we go too!
Only 3 years ago a Facebook page was set up for Musicians who work in Dance. We did not know each other , but in these intervening months we have all discovered each other and become a global family. We share ideas, music and support in good and difficult times. To that end, the International Guild of Musicians in Dance will be hosting their annual conference online 1st/2nd October 2021. There is an opportunity to contribute uplifting stories for our future and urge you to join in! firstname.lastname@example.org
Well, I thought it might be time to review another of the films up there on YouTube. It’s a short I made – looking at music for Jumps. The most confounding pieces of music to get just right for ballet class. Have a look! (Oh, and enjoy Gene Kelly too….)
Hi. Here we are on day two of the YouTube adventure. Mariana has posted an interesting 9 minutes exploring the very first stages of accompaniment for dance. Especially ballet. Have a look and you can buy her score right here on this site too.
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