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Surveiller et punir - for violin, accordion & cello

by Noëmi Schindler (violin), Eric-Maria Couturier (Cello), Anthony Millet (accordion)

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Commissioned by Emmanuelle Bertrand for the Festival du Violoncelle de Beauvais, Surveiller et Punir is a central piece in my compositional journey. Written as an echo to Foucault's analysis of prison history, the piece starts from the silence that will be found immediately after the last resonance marking the end.

The trio for violin, cello and accordion follows a circular logic and has a movement segmented into 3 parts. The three instruments are treated as soloists in the first movement. The dialogue created between the soloist and the two remaining instruments, in which the latter seek to destabilize the former, establishes a relationship of oppressor and oppressed. The central part is a meditation, a peaceful and calm time within the oppressed soloist. Finally, the third part is marked by the sonic union of the trio as a whole. Their cohesion and the rhapsodic movement that it generates will bring this single indivisible entity to the point of paroxysm, to their destruction.

Dedicated to Bernard Cavanna, mentor and friend.


Commande d’Emmanuelle Bertrand pour le Festival du Violoncelle de Beauvais, Surveiller et Punir est une pièce centrale dans mon parcours compositionnel. Écrite en écho à l’analyse de Foucault sur l’histoire carcérale, la pièce démarre à partir du silence que l’on retrouvera immédiatement après la dernière résonance marquant la fin.

Le trio pour violon, violoncelle et accordéon suit une logique circulaire et compte un mouvement segmenté en 3 parties. Les trois instruments seront traités tour à tour comme solistes dans le premier mouvement. Le dialogue créé entre le soliste et les deux instruments restants, et dans lequel les derniers cherchent à déstabiliser le premier, permet d’instaurer un rapport d’oppresseur et d’opprimé. La partie centrale est une méditation, un temps paisible et calme interne au soliste opprimé. Enfin, la troisième partie est marquée par l’union sonore du trio dans sa totalité. Leur cohésion et le mouvement rhapsodique qu’elle génère amèneront cette seule entité indivisible jusqu’au paroxysme, jusqu’à leur destruction.

Dédiée à Bernard Cavanna, mentor et ami.

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released February 10, 2013

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Tomas Bordalejo Paris, France

Far from musical academicisms, Tomas Bordalejo learns not only from the sounds of the world he lives in but also from the interaction with instrumentalists to build an abstract but also living and personal type of music.
His work is marked by a constant dialog with other arts, architecture along with urbanism or philosophy.
Each piece is witness to the scenic application of the sound. ... more

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