Training courses and Workshops

Workshop « Sons et formes du bois » ©
(For schools and music schools)

Designed for a child public, musicians or not, amateurs, singers, instrument players or dancers, Le Concert Impromptu offers workshops that mix sound and musical, gestural and plastic expression, using all sorts of instruments and all shapes of wood.

Through the observation and the proposed experimentations, the trainees will access a global vision of the usage of wind and percussion instruments made from wood. More than an apprenticeship, it is a sensory approach through the imaginary and the joys of sharing.

Common and traditional instruments will be presented to the children, along with their first functions in the important stages of a society. The musicians will then explore the various methods of playing, the various ranges and the unexpected potentials of the instruments and the voice. In link with the show Woods created in the open-air, the musicians offer a gestural work around walking, listening, sight which will be completed by a plastic art activity centered on "land Art"

Intervenants :
Yves Charpentier, flutes
Michaela Hrabankova, oboe
Jean-Christophe Murer, clarinets
Eric Villevière, french horn
Vincent Legoupil, bassoon (et didgeridoo)
Monique Dupuis Léopoldoff, flutes
Pamela Fleury, flutes
Tanjia Muller, flutes

« Atelier de l’interprète créatif » ©

To dare, to guide, to liberate the spirit, those are some of the objectives of the workshops that Le Concert impromptu in France and especially in rural zones and outside cities.

Also opened to actors and dancers, the workshops are organized over several sessions and lead to the making of a final show. Collective playing, playing by heart, stage postitionning, improvisation, numerous work methods in order to remind that music is a live performance and that the artist, whatever his level, can be the volontary and conscient actor of the music.

The workshop has several main objectives :

• Constitute a dynamic group, taking in account the personnality of each participant
• Elaborate several common languages (musical, gestural, poetical)
• Put into shape the various musical materials exploited in view of a public restitution