|
Alma-Luvia Sinopia Femmes Filastrocca Piranhas BogenLied |
Electrics StreicherKreis Cinq études pour quatuor à cordes Doppia AntePrima La Muette The Waves |
 |
|---|
|
On this page you can listen to music samples and follow with the score at the same time. - one click on player - then click on "score pages." It is also possible to order the partitions, they are available at Éditions Jobert. Alma-Luvia I score pages 3 to 8 I editor for female voice, viola, clarinet, (cristal Baschet on tape) and electroacoustic (1992-1993), 7.30mn; Alma-Livia is one of the main characters of Finnegans Wake by James Joyce. At the same time wife and river, poetic incarnation and insaississable image, she is told as a fluid element. She is the image of the Joyce universe : fluidity of situations space / time, ambiguous symbols, character metamorphosis, multi-understanding of the characters and overall fluidity of writing. Words come together in a dreamlike logic creating a language made of ambiguity and perpetual metamorphosis. (more informations, go to works) Sinopia I score pages 1 to 4 I editor for ensemble (11 instr.) flute (aussi piccolo), oboe (aussi cor anglais), clarinet sib. (aussi cl.basse), horn, trumpet, vibraphone, marimba, piano, 1 viola, 1 cello, 1 double bass Sinopia belongs to a cycle of three pieces written for chamber orchestra. Sinopia constitutes the first phase before Aïponis (1998) and Bobok (2003) (more informations, go to works) Femmes I score pages 3 to 11 I editor for 2 female voices, (with Baschet sculptures sonores, les tôles à voix des Frères Baschet) and quintet : flûte, clarinet, trombone, viola, cello. Two women, one in Hebrew language, the other in Arabic, sing their belonging to the same land. A history of women, a land of history and two separate languages. These women are separated by what could unite them, communication power, language. So we can hear at the beginning of the piece two different music blocks with their own syntactic features, the musical language is defined in separate autonomous spheres. Each voice line is declared sovereign because it holds the text. (more informations, go to works) Filastrocca I score pages 7 to 13 I editor for 2 male voices (ténor and deep bass), ensemble : flûte, clarinet, horn, trombone, viola, cello and electroacoustic live.(2002), 15mn; The play focuses on the vocal material Sardinian singers of the 'Confrérie de Castelsardo'. Exceptional traditional music that can be defined as a "harmonic resonance in singing." The men of the village of Castelsardo practiced for generations this vocal technique of oral tradition and perpetuated through the sacred repertoire. They sing a capella, in quartet vocal formation. With their vocal technique, they are able to create the emergence of a fifth pitch understood as a fifth voice called "Quintina". Voice of woman we today call "virtual". Hearing this secular music, I wanted to write Filastrocca and try to define the link between archaism and modernity, a close link I wanted to seal as alliances and sound alloys between the fifteenth century Sardinian vocal and my contemporaneity. (more informations, go to works) Piranhas I score pages 9 to 17 I editor video-opera for mezzo-soprano and sopranist, saxophone quartet, with ensemble : string quintet (2vl-1vla-1vc-1cb), wind quintet (fl.ob-cl-ba-cor), pno and perc. Electroacoustic live and video. (2004), 40mn; Piranhas is a video-opera where the audience is immersed in the sound and the image, surrounded by musicians playing and visual screens covering the walls of the space: images are projected on all four walls of the room, the musicians are in the center, the audience sits around the musicians and all four saxophonist placed at a corner of the place. (more informations, go to works) BogenLied I score pages 1 and 2 I editor for 'augmented' violin and electroacoustic live (2005), 12mn; Single prototype, the augmented violin contains a chip weighing only a few grams and placed on the rise of the bow of the violinist. This chip is able to capture in real time during the concert, gestual phrases the soloist performs with his bow across the strings, and transmit these informations to the computer placed at the center of electroacoustic device. With this piece, electroacoustic soundscape is fully controlled by the stroke of the bow of the violinist. (more informations, go to works) Electrics I score pages 2 and 3 I editor for flute solo and electroacoustic live (2005-2007), 10mn; The Electrics (2005) are attempts to create sound spaces that combine the soloist and live electronics in a special relationship. With the Electrics , I try to define this ideal interactivity, link or friendly place sound, music and fun, like maybe a chamber music of thought that could link two musicians, soloist here and computer. An interactive space, creative and recreational where the soloist can build a personal electroacoustic sound territories in which he moves as he pleases by creating his own routes in the score of "open form". (more informations, go to works) StreicherKreis I score, last pages I editor for 'augmented' string quartet and electroacoustic live (2007-2008), 25mn; (more informations, go to works) Cinq études pour quatuor à cordes I score quartet n°5 I editor for string quartet (2009), 10mn; Didactic pieces, the Cinq études pour quatuor à cordes were studied in the Seine-Saint-Denis Chamber Music courses organized by ProQuartet-CEMC and directed by Manfred quartet, in association with conservatories Blanc-Mesnil, of Pavillons- sous-Bois, Aulnay-sous-Bois and Aubervilliers-La Courneuve (level 2nd cycle, 3rd cycle, Development and DEM). Doppia I score page 1 I editor for 2 violins (2013), 5mn; Didactic piece, Doppia is writen for two violins, violin part 1 can be played by a student (at the end of the second cycle / early 3rd cycle), the violin part 2 can be played by the teacher.
(more informations, go to works)
AntePrima I beginning of the score I editor for large symphonic orchestra(2010), 6.30mn; AntePrima is built on a simple shape and bases himself on a structure of increase. The initial gesture which crosses the registers from the grave to the treble will be amplified throughout the score, and that in all the elements which characterizes it: rhythmic cell, harmonic structure, bellows dynamics, alloys of the instrumental timbres.
The work is short, I thus called her AntePrima (' preview) in the idea I shall write very soon for the same formation other music pages which will succeed this part.
The score is dedicated to Valerio Sannicandro. La Muette I beginning of the score I editor for female voice, ensemble and electroacoustic live (2011-2012), 35mn; La Muette,
first premiere on 9 february 2012, Paris, Ircam, Espace de projection,
Donatienne Michel-Dansac (voix),
ensemble TM+. Laurent Cuniot (direction),
réalisation informatique musicale Ircam : Serge Lemouton
The Waves I beginning of the score I for female voice, ensemble and electroacoustic live (2014-2015), 15mn; The Waves,
first premiere on 13 march 2015 in Nanterre, Maison de la Musique |
|---|