Discography

2019 - La clé des chants

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2019 - La clé des chants
2019 - La clé des chants

La clé des chants

Après avoir terminé un nouveau CD, et ce n'est pas la première fois, j'éprouve toujours le sentiment d'avoir fait le tour du sujet, surtout que ma harpe diatonique est privée des nombreuses possibilités que peut offrir le chromatisme.

Face à un vague sentiment de vide, je me replonge alors vers mes compositions passées, " tous ces fameux morceaux qui ne m'ont pas rendu célébre", et malgré tout, je retrouve dans certains d'entre eux de belles sensations et la conviction de n'avoir pas perdu mon temps.

Cela jusqu'au jour où viennent s'inviter dans mes cordes, les prémices de nouvelles mélodies, ce qui relance le processus et me pousse à retourner bientôt au studio de Philippe Labroue qui m'accueille pour de nouvelles aventures sonores; merci à lui pour cette fidélité.

 

 

2018 - Ode à Mamie

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2018 - Ode à Mamie

Ode à Mamie

Cet album suit mon activité de composition matinale dans les couloirs du métro parisien.....entre autre, Sur le fil à Daumesnil.

Ayant retrouvé une viellie photo de la grand-mère qui m'a élévé, j'ai suivi le fil conducteur de cette précieuse retrouvaille pour dédier mes nouvelles compositions à cette chère Mamie depuis longtemps disparue.

Ode à Mamie, Harpe en comptine, Harpe en fête, c'est au cours d'une ballade nostalgique que je laisse aller mon inspiration entre un Vertige passager.

J'ai revisité cette belle mélodie argentine La peregrinación, de l'argentin Ariel Ramirez, qui donne d'une manière si limpide l'émotion religieuse que j'ai senti enfant quand je montais avec Mamie la "grimpette" du petit chemin qui longeait le vieux chateau de Marle-sur-Serre pour aller à la messe du matin.

  Que ma Harpe en gambadres sur les chemins et sur les ondes en Ronds d'eau porte l'Ode à Mamie là-bas très loin d'où elle pourra l'entendre.

A Villejuif août 2018, Pascal Coulon.

  Merci à Bernard Wystraete et Claude Mouton, que je connaissais, et à Ladislav Scathmary dont je découvre le talent avec ravissement.


CD 2018, disponible à la vente

2017 - Mélodiatoniques

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2017 - Mélodiatoniques

Melodiatoniques - 2017 solos Compositions for diatonic harp.

2017 album brings together solos harp I wrote later to those of the "air amadoué album" (vol.1). " The first five pieces are unpublished and composed in 2016.

-"Lointaine mélopée" makes me review some of the far East, "

-I can rehash "melodiatoniques" minutes, or many days or even weeks with the impression that all is not said. "

-"Harpe, waltz and nostalgie" watch my taste for the waltz, treated a diagram of Venezuelan Waltz which is itself based on the input of musicians from Europe... "

-"Fruit of my passion": it's her revisits ballad in 3/4 of a melody that I wrote in tropical style - (mi Corazón Chinita) "

-"Allons to Bel-air": next to me on the sign that indicates the stations up to Nation, Bel-air invites me to travel. "

-Then come the melodies according to "Air amadoué", and when I listen to everything I say to myself that I have maybe lost quite my time to play so long in my corner by cold of duck in this purgatory longer than expected to Denfert. "

Villejuif January 2017

2016 - Harpe en signe

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2016 - Harpe en signe

With "Harpe in Signe", I put solos recent next to older compositions including participations of musicians coming from various horizons. "

The cover design comes from a photo taken at the foot of my harp where drops of water from a leak in the roof of the subway had formed a surprising motive, evoquantun eye who was studying me with different intensities, following the fluctuations caused by the fall of water; chance that this scrutiny is established at the foot of the instrument, so me can not ignore it.

There evocation of a sign mysterious came challenge me?  On rainy days the lapping of water drops falling in front of me I was inspired "clapotis of emotion", and influence aquatic yet, "des heads to the lac"and cygne "chant". " Cristal "Cordes" esprimant my desire of musical syncretism. "

For those who will have this CD, I put two other pieces that matter to me: "Air amadoué" that marks the moment where I wanted to free myself patterns inherent in traditional music in order to get my own musical style, and "Ariette in tete" in search of sweetness and nostalgia piece that many parents have told me use to put their children to sleep.

The following is a selection of songs from the Cd "Harpe in sol" the draw now exhausted including "station Denfert" which reminds me of the number of years spent in these places.

Thanks to Philippe Labroue, my mentor.
At Villejuif early 2016 - Pascal Coulon

Of "Harpes Mag" N ° 13, March 2016 - Didier Saimpaul: "

In his latest CD, Pascal Coulon, the Bard of the metro, continues to explore with stubbornness a harp universe well to him, that's like nothing else.

These melodies often simple initially, these obsessive, repetitive jingles, he dissects them, rebuilt them, firewalls of multiple rhythmic ornaments, step by step, stubbornly, like he wanted to squeeze all of the juice, extract what they contain emotion.

Made of techniques and South American accents, but also, often, far-Eastern influences, his game is of great purity, a perfect master, and as his harp sings well, in its subtle diatonisme!

Parisians, finally, you have the chance with your metro!

2015 - Harpe en Vol

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2015 - Harpe en Vol

I would just put a comment about my musical approach.

It is the Venezuelan harp (llanera) who made me discover the harp like instrument in the broad sense, and I spent years trying to play correctly, making many trips in Colombia and the Venezuela, and even France, the Venezuelan Embassy cultural service called me regularly for the receptions or openings for interpteter directory traditional colombo-Venezuelan llanero and I played for a long time also in the cabaret of the Machucambos... but my encounter with Yves Darcizas and reading a book Venezuelan 'el arpa in Venezuela' opened a new approach to the instrument.

One day, passing through Paris, Yves Darciszas came to see me and lend me for a week a harp he produced in Colombia from a copy of an old Spanish harp which is be the origin of the current harp llanera. This music of the llanos, I liked it very much and she brought me a lot, but as in almost all traditional music you meet as "ayatollahs" of sorts.

With the web and globalization is moving but from what I knew, for one who is born in a corner of the region of the llanos, the harp can only be llanera and he have to play in this way and not otherwise, and if one is not a native of this place that is not necessarily well accepted and I can understand that because without this conservative position tradition would be lost faster that's for sure.

But to know that this harp llanera it is originally the European baroque harp, it allows me to understand the instrument from this perspective and seek to m ' Express as french with my French sensibility.

I'm not breton or classical harpist and I come from a region (Laon) which has no significant tradition of harp.

At the beginning I was composing in the llanero style because my friends reminded me that it couldn't be otherwise but little by little things made their way and without denying that South American folklore brought me, I can say that through my recent compositions, in this case the first three solo pieces from the new CD and the CD ("Harpaije" ") I feel good in my music.

For example, in the "froides rives song" while I play hours in the subway, close your eyes, I find myself child in my village of Aisne, when I was walking up the River (the greenhouse) in my boat in the middle of the Woods! " In addition "froides rives" is the name of a locality. "

Finally, after much traveling the world, at my age, it's wonderful to be able to travel to the depths of my memories with this magical instrument that is "la harpe"...diatonique.

2014 - Harpaije

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2014 - Harpaije
Harpaije CD 2014 Harpe diatonique solo Pascal Coulon

This CD starts with three solo harp composed in the first half of 2014.

Harpaije & Harpareva have brightened sometimes difficult mornings for some travelers. Harp in scenes includes several little melodies that I was playing more as they were written.

Thanks to Philippe Labroue to have found time to continue the recording of my new melodies. I think whenever I did turn my harp, is diatonic, but new veins suddenly arise over my dives in the Lair of the lion... Denfert among others.

I turned to the period where, I thought, the harp could be broken down to fashion llanera, thinking back to these beautiful moments spent in the discovery of this music in a frenzy of travel. I took three themes of this time: on the one hand, two songs that I had written in the style traditional llanero, melodies that summarize well, me it seems, the enthusiasm caused by my first visits to the Indio Ignacio Figueredo in his town of San Fernando de Apure in Venezuela, on the other hand, varitions for harp and violin, I had written on two traditional tunes Venezuelan of the llanos colombo (Buenos aires plainsmen & mid Camaguan).

The end of the draw of the "Nations of etoiles CD" approaching, it's the opportunity to make a choice of pieces so that this album thus does not disappear for body and soul. "

The travel period is over, it's time for me to discover better through the harp who I really am, and for this, I let her talk as long as she agrees to continue to do so.

Villejuif, August 2014

2013 - Rayonnances

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2013 - Rayonnances

Returns on sounds

This tenth CD contains my latest compositions and he also discusses my first recordings made in Venezuela, when I had just discovered the harp in his form called "llanera" or even Venezuelan or Colombian.

It is in fact the baroque harp Spanish, introduced in South America to be used initially in the churches don't move in the field particularly popular in the region from the Plains (los llanos).

Music llanera is rich of a mixture where themselves elements of Spanish baroque, rhythmic riches African and Aboriginal.

There I have to run to a good 40 years to get these travel memories with also the getaway of 8 years in the Japan and one year in Taiwan among other...

For a decade I don't move, I would land me and bury me in often hellish places - Denfert - where my heart indeed bleeds; but rich of these influences past, I try to contribute to the return of this instrument at the heart of the old continent where the classical harp with its chromaticism, had eclipsed it.

Thank BERNARD WYSTREATE who has beautifully realised my counter-voices in the bass flute, TONY BONFILS who asked his bass with the warmth of his talent, ALFREDO CUTUFLA, who put the battery delicately, as well as his son LUDWIG for the vibraphone and CUCHI ALMEDA for accuracy and beauty of its interventions.

I am enclosing a few pieces of "The harp WANDERER" so that they disappear completely, the draw of this CD being exhausted.

CD duration: 1 hour 9 minutes

Original melodies of Pascal Coulon (1 to 13)

Rayonnances
Lightning at the Odeon
Ariette in mind
Golden Sun (solo)
Harp in carillon
Fugue and dance
Forgotten gardens
Waltz asleep
Rayonnances (solo)
The baroque garden
Caricias del viento
MI Laima
A garden set para hijos
Variations on traditional music of Venezuela:

Amigos y parranderos
Saludando a los Maestros
DAMA antanona - Waltz
Con cierto concierto...

2012 - Air amadoué

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2012 - Air amadoué

The Mikonos nights or sign of Aeolus

(or the why and how of this CD)

"I went to sit near the mills,
And I turned my harp into the wind.
He returned to the Fund by long complaints,
Making last sounds in a surreal way.

I played on this background of incredible lightness
In mixing the best dry sounds
Only my claws can only.

The timing was so good that it remains engraved in me
Like a living picture where I can draw
"The reserves of enthusiasm and exaltation. "

Written at the island of Mikonos, Greece, 1975...

CD duration: 56 minutes

Solo harp compositions: Pascal Coulon

Air writing
Forgotten gardens
Ariette in mind
Soliloquio
Winter stories
Calm morning
Night of promises
Waltz in the basement
Waters lives
Freshwater
Flowing waters
The lyre bird
Balladamoi
Tourbillonannces
Swing
Reveillance
Good day Waltz

2009 - Arpaligato

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2009 - Arpaligato

Here we reached the eighth of my CD that doesn't contain it is true that five songs including "Arpaligato" in the middle of which I mention the Decade passed to the Japan.

In '2 pasajes for landscape' I wrote three variations for harp, violin and double bass on two melodies of Pasaia plainsmen (musical style that I went to listen to and study in the colombo-Venezuelan Plains). It's 'Buenos Aires plainsmen' and 'Mi Camaguan '.
'Nostalgic strings' is one of my compositions in the style of the pasaje.
"Symphony for a ticking" is dragging on and it is wanted.
In the title "Waltz in Java" that fraternize.
I mean also felt pleasure when the musical guests came with their talents enrich the melodies born at dawn on my harp in the dens of the subway.

2008 - Danza Harpe

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2008 - Danza Harpe

La Danza Zuliana est un style musical que j'affectionne tout particulièrement et j'ai déjà composé par le passé Danza Parisina, Danza de luz, Mi Laîma… J'ai donc choisi ce morceau comme titre de l'album.

Une fois passée la période d'enregistrement de mélodies composées tôt le matin dans les couloirs pas encore envahis du métro, j'ai entrepris d'écrire les contre-chants en vue des participation sur Danza harpe et Kodomos, Cœur allègre, Réveillance , Balancelle et la première partie de Rumor de fiesta.

  • Bernard Wystraete (flûte)
  • Eduardo Lubo (violoncelle)
  • Jean-Paul Bazin ( mandoloncelle)
  • Guy Leroux ( guitare)
  • Ricardo Sandoval (mandoline)

Il y a aussi la complicité fidèle de Cesar Andrade qui a écrit des paroles sur Barca de flores et Dias Maravillosos que nous avons choisi de confier à Hayley Soto pour les interpréter.

Mais ce fut aussi le plaisir de laisser libre cours au talent de Kent Biswell dans kilin-kilin, Doux spleen et Valse de bonne journée de Bernard wystraete dans deuxième partie de Rumor de fiesta de Julio Font dans la deuxième partie de Kilin-Kilin et de Echappée d'ailes et Sébastien Jimenez dans Valse de bonne journée et Balladamoi .

J'ai mis en Mosaico quelques solos de harpe pour garder l'atmosphère des mélodies composées aux aurores pour les parisiens matinaux. Komodos est dédié à mes 3 fils qui ont fait les dessins de la pochette du CD, Surtout merci à Philipe Labroue & Emiko Hattori qui ont rendu possible la réalisation du projet.

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