Artifacts and Activities

MaRSMMuCK houses approximately thirty flexible spaces from 15 to 80 sq meters (160 sq. ft. to 860 sq. ft). In planned situations and/or presentations, it has on display:

– Almost all of the original instruments that Kientzy studied and played:
acoustic guitar, electric guitar, bass guitars, Fender-Rhodes, double basses, viola da gamba, crumhorns, and cornamuse.

-The unique, complete family of 7 saxophones, which have traveled the world for concert tours many times (all Selmer models, except for the Orsi contra-bass saxophone).
-The very first saxophone loaned to Kientzy when he began to study the saxophone at 17 years of age: a Mark VI tenor with a Larsen mouthpiece. As Kientzy was already a professional bassist, he saw the saxophone as an eventual tool to serve as his instrument during his required military service. He didn’t need it, however, as he turned out to be exempt.
– His first purchased saxophone: a Selmer Mark VI alto without the high F# key,
– A Buffet model Super Dynaction alto saxophone used when Kientzy won the 1st prize in the class of saxophone at the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP)
-A Buffet S1 soprano saxophone which goes to high “G” used when he won the 1st prize in chamber music at the CNSMDP.
– A Selmer soprano model without a high G key, which was used in the development of SAXOLOGIE, Kientzy’s Doctoral Thesis in Aesthetics, Sciences, and Technology of the Arts defended in 1990 at the University of Paris 8.
– The current professional HD recording studio with large control room
– A number of vintage keyboards belatedly used in purely contemporary works: Fender-Rhodes, Clavinet, Pianet, DX7, Compact Duo, no piano.
– The reconstitution of different Kientzy studios and workstations replicating his recording work in Paris and Bucharest.
– The reconstruction of the Meta-Duo rehearsal space with its ennéaphonic device and system in the cinema-auditorium located on the lower level of MaRSMMuCK, seating 15 to 30 spectators ).
– Analog and digital recorders dating from the 1960s and 1970s through today.
– Developments in audio media, from magnetic tape up to different current means and standards.
– Analog and digital sound processors, studio peripherals, concert and studio speakers, mixing tables.
– A music library containing:
1. Manuscripts for scores before computer editing of music of the more than 760 works written for Kientzy by composers coming from the 4 corners of the world
2. the “tape” parts (tape, DAT then CD) of the organo-acousmatic works (blends of the live instrument, live electronics and tape music)
3. The scores studied and performed during his musical training, before devoting himself to the musical avant-garde.
4. the working materials and scores for the other instruments studied and played (contrabass, viola da gamba, cromorns, etc…).
5. Musical scores of the META-DUO Soniste, that is scores with the sound actions notes of the sound artist as used in concert
6. Musical Scores of mixing session before ProTools automation
– A phonothèque (Recordings Library) of approximately 500 studio productions, from concertos with symphony orchestras to solo works, including organo-acousmatics works and “phonostücks” with the use of rare or unusual instruments rarely used in contemporary music. These phonostücks are to the concert (konzertstück) what cinema is to the theater.
– Productions produced over the course of time on ¼ », 1 » and 2 » tapes, DAT, ADAT, CD, DVD, hard drive, micro-SD.
– The Discotheque exhibits more than one hundred discs (LP, K7, CD) of works as world phonographic premieres by the performer Kientzy, for whom they were composed.
– Concert equipment and documents from the extensive world travels of Kientzy and META-DUO.
– The photo-documented reconstruction (with corresponding instrument and electronics cases and trolleys from Paris Airport) of the return of the META-DUO (from Mexico in October 2005) to Roissy CDG
– Posters and concert programs.
– Professional gifts.
– Preparatory work for Les sons multiples aux saxophones and for Saxologie, works that received recognition with awards by SACEM (The Society of Authors, Composers and Publishers of Music ) and for l’Art du Saxophone (1993, CD-book)
– A very appreciable professional iconography.
– Correspondence with composers.
– Historic furniture, collected from the home of Kientzy and decorating the various bedrooms from his infancy to present day. His parent’s room, various antique toys, objects, clothes, historic documents,
– CCP statements over 50 years; credit card tickets, tax forms, telephone bills, gas, electricity, and car maintenance…
– The administrative archives of the artist (and even his parents) up until the present day.
– Musical archives other than scores.
– Archives of everyday artistic life (plane tickets, travel plans, reminders, passports, etc.)

– From the 1950s (and even before) to the present day: a wide range of radios, transistors, record players, domestic tape recorder, cassette recorder, discotheque, HiFi systems, literary and musical libraries, faxes, computers and peripherals, photocopiers, answering machines.
– Many square meters of boxes of various household and musical items tracing their evolution, from the 1960s to today.

– The Vestiges of more than ⅓ of a century of musical creation at La Campagne à Paris, Kientzy’s former downtown Paris home and studio: 9, Bd mortier 75020 Paris (view www.kientzy.pro) where hundreds of concert premiers were prepared which “saw the light of day” all over the world and where the artist’s first personal professional recording studio was built. The Paris house welcomed dozens and dozens of composers from around the world.

-Equipped with 10 “museum-like” bedrooms (sleeping 1 to 4 persons), MaRSMMuCK welcomes musicologists, sociologists, composers and saxophonists wishing to study, in immersion, the work and the evolution of the environment of the life of a singular artist in art music, Daniel Kientzy.

Doctoral students can propose applying for extended stays.

MaRSMMuCK is also the place to prepare, in complete solitude, the development and creation of new works with their composers. Entire programs can be rehearsed on site in musical immersion. They can be presented there as well, in preview, in the cinema-auditorium. Professional presentations can find a unique setting at MaRSMMuCK. Conferences and seminars both private and public, self-sufficient or not, can take place there in ideal conditions isolated for concentration.

It is also possible to consider recording projects.

With its ample space and resources, MaRSMMuCK could become the global home of the saxophone