Florentin Ginot

Wednesday 21 September 2022
Palau de les Arts. Teatre Martín i Soler
Free admission with invitation until full capacity

Do you know how to bark?

Fury (2002) Rebecca Saunders (1967)

New Piece (2022) Mauro Hertig (1989)

Scondanibbio (2010) Milica Djordjevic (1984)

Farewell (1981-83) Stefano ScodanibTrajectòria (1956)

Sequenza XIVb (2004) Luciano Berio (1925)

Obstinate (2018) Georges Aperghis (1945)

To explore the raw, rough and vibrating nature of a human-size instrument. To exploit its imperfections to create a space where the corps-à-corps takes on its full meaning. To project a hacked or shouted voice into a specific space, to receive its resonance and to start again. Encounters have always been my first source of discovery, bringing curiosity and opening up to other ways of thinking about music and its praxis. Rebecca Saunders, Georges Aperghis and Milica Djordjevic are all people who have shaped my approach to the double bass, leaving it to return to it in a different way. I am fascinated by the manner in which they each seize this object, its resistance, its dull zones, whether they will grab the earthy bass that the instrument possesses or try to escape it at all costs.

In relation to the gestures of these three solos, a 2022 creation by the young New Yorker Mauro Hertig, working on the relationship between performer and audience through interaction processes, and two Italian classics of virtuosity and instrumental sonic exploration: Luciano Berio and Stefano Scodanibbio. The performer tackles the strings of a double bass, obstinately. And, even more than the strings, the tension of these strings, which refuses to surrender to him. He fights against it without disarming, working on it like a sculptor challenges marble, with repeated, furious and tireless gestures. In short: everything is in the title. (Georges Aperghis).


Member of Ensemble Musikfabrik since 2015, Florentin Ginot lives and works in Paris and Cologne. After graduating from the Conservatoire National Supérieur de Paris, he became a Laureate of the Banque Populaire Foundation and Mécénat Musical Société Générale. In 2015, he recorded his first CD for the « Young Soloists » collection of the Meyer Foundation, with a focus on the early music of Marin Marais.

He is now dedicated to solo repertoire, creation and invention of scenic forms.

In 2017 he founded HowNow, a company developing innovative artistic forms based on modern music into scenic forms, alongside contemporary dance, theatre and circus. The same year, the choreographer Yoann Bourgeois commissioned him the musical conception for La Mécanique de l’Histoire, presented at the Panthéon as part of the Théâtre de la Ville-Paris’s season.

In 2019, he initiated two collaborations with electronic artists Helge Sten (aka Deathprod, Norway) and Stefan Prins (Belgium/Germany), for two immersive and transdisciplinary shows, The Waste Land and Situations.

By collaborating closely with composers such as Georges Aperghis, György Kurtág, Rebecca Saunders or Helmut Lachenmann, he initiates and premieres a new solo repertoire for his instrument. His program Not Here presented a series of premieres in 2018 at the Cologne Philharmonie, Manifeste Festival-Ircam and the Biennale di Venezia.

At the same time, he performs baroque and classical repertoire by adapting J.S. Bach’s Sonatas and Partitas on piccolo double bass, Marin Marais’ Livres de Viole, or L.v. Beethoven’s Cello Sonatas.

He has performed as soloist in festivals and venues such as the Berliner Philharmonie, Cologne Philharmonie, Cité de la Musique-Paris, Festival Présences-Radio France, Festival Musica, l’Auditori, Berliner Festspiele, Manifeste Festival-Ircam, Sacrum Profanum-Cracow, Ultima-Oslo, la Biennale di Venezia… His international projects are supported by the Institut Français.

More information
Les Arts
Photo: Marc Ginot