Lemoine Canatchizy - Danse De L'aube - Contrebasse Solo
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Lemoine
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Summary of This Score
Commissioned by the Ministry of Culture, this piece for solo double bass was initially conceived without choreographic intent. The idea of a dance emerged later during a residency in Metz, when choreographer Susan Buirge proposed to create a dialogue between music and movement, precisely when Joëlle Léandre and the composer were in residence. From this encounter was born Danse de l'aube, a work where instrumental writing suggests bodily energy, pulse, and trajectory.
The title explicitly refers to the biblical episode of Jacob's wrestling with the angel (Genesis), a struggle carried out "until the break of dawn." This image illuminates the listening and interpretation: the double bass becomes a solitary voice, grappling with a sound material that is sometimes resistant, sometimes luminous, as if the instrument seeks its balance between confrontation and apparition. The score thus highlights the dramatic and poetic dimension of the solo, focusing attention on the articulation of gesture, the density of timbre, and the continuity of discourse.
Within a contemporary music context, this score is aimed at double bassists wishing to explore demanding and embodied writing, suitable both for the stage and for sonic research work. It naturally fits into a program dedicated to female composers, the contemporary French repertoire, or short pieces with a strong musical identity.
Technical specifications
| Musical Genre | Classical | Publication | Sheet music |
| Composer | Edith Canat de Chizy | Genre | contemporary score |
| Artist | Joëlle Léandre | Pages | 6 |
| Instrumentation | solo double bass | Year of Publication | 1998 |
Questions frequently asked
Is this score written for double bass alone?
The score is intended for solo double bass, with no other instrumentation indicated.
How many pages does the edition have?
The edition published in 1998 has 6 pages.
What type of writing does Danse de l’aube offer for double bass?
The writing belongs to the contemporary repertoire and is presented as demanding. It pays particular attention to instrumental gesture, timbral density, and continuity of the discourse.
Is the piece related to dance?
Originally conceived without choreographic intent, the work later encountered movement during a residency in Metz. Choreographer Susan Buirge proposed this dialogue with the music, while Joëlle Léandre and the composer were in residence. This origin fuels a pulse and bodily energy in the writing.
In what concert context should this work by Edith Canat de Chizy be programmed?
The piece can be included in a program dedicated to female composers or to contemporary French repertoire. Its solo double bass instrumentation also suits a set of short pieces with a strong musical identity.
