"Bords Plateau"
Acousmatic Musics
Partie 1 : Espace Initial (stéréophonique, 2019), 8’40
Partie 2 : Danse (stéréophonique, 2018), 15’
Partie 3 : Fantasmagorie (stéréophonique, 2019), 22’
Partie 1 : Espace Initial (stéréophonique, 2019), 8’40
Partie 2 : Danse (stéréophonique, 2018), 15’
Partie 3 : Fantasmagorie (stéréophonique, 2019), 22’
Bords Plateau is a collection of three works of electroacoustic music.
Each of them develops in a common acoustic space.
Indeed, musical writing is part of a fixed and strictly defined spatial framework. This space is the sound representation of the rectangular stage of a theater. This strict principle is laid down so that the spatial writing of sounds finds meaning and coherence.
The edge of a stage is the space of demarcation between the artist and the spectator. It is also a limit within which the actor of the show compels himself to express himself.
The first two parts are inspired by the world of live performance, in its technical aspect (Bords Plateau No 1, Espace Initial) as well as artistic (Bords Plateau No 2, Danse). But the purpose is not exclusively to bear witness to this environment, it is more deeply to create music and to dramatize the sound events which are borrowed there and which evolve on the edge and in the plateau. The third part is more abstract, it draws its sound resources from a completely different register than the live performance. Space is transcended there.
In concert :
The first two parts must be played together, the third can be the subject of another programming.
The interpretation on acousmonium (speaker orchestra) requires making real choices, beyond what is written. Indeed, the spatial principle works very well in strict stereophonic listening, ears well placed between two speakers or headphones. Also, deploying this music in the concert hall is a second strong artistic act.
Each of them develops in a common acoustic space.
Indeed, musical writing is part of a fixed and strictly defined spatial framework. This space is the sound representation of the rectangular stage of a theater. This strict principle is laid down so that the spatial writing of sounds finds meaning and coherence.
The edge of a stage is the space of demarcation between the artist and the spectator. It is also a limit within which the actor of the show compels himself to express himself.
The first two parts are inspired by the world of live performance, in its technical aspect (Bords Plateau No 1, Espace Initial) as well as artistic (Bords Plateau No 2, Danse). But the purpose is not exclusively to bear witness to this environment, it is more deeply to create music and to dramatize the sound events which are borrowed there and which evolve on the edge and in the plateau. The third part is more abstract, it draws its sound resources from a completely different register than the live performance. Space is transcended there.
In concert :
The first two parts must be played together, the third can be the subject of another programming.
The interpretation on acousmonium (speaker orchestra) requires making real choices, beyond what is written. Indeed, the spatial principle works very well in strict stereophonic listening, ears well placed between two speakers or headphones. Also, deploying this music in the concert hall is a second strong artistic act.
1st part: Espace Initial (Initial Space)
Commission for the 2019 Mixtur Festival (Barcelona)
Acousmatic music / 2019 / 8’40 / stereophonic
Commission for the 2019 Mixtur Festival (Barcelona)
Acousmatic music / 2019 / 8’40 / stereophonic
This first part lays the foundations for the sound space in which all future sounds will evolve.
We therefore discover the plateau taking shape. The marks of the representation frame are laid in width as well as in depth.
This is a first necessary step for the sound events to live, discuss, coexist.
The sound materials are taken from sounds of the show technique (laying of dance floors, navigation of a lifting platform) as well as from traditional instrumental sources (piano, timpani, synthesis). They are mixed regardless of value, all being used for their sonic and evocative characteristics.
(premiered on March 25, 2019, Mixtur Festival, Barcelona)
We therefore discover the plateau taking shape. The marks of the representation frame are laid in width as well as in depth.
This is a first necessary step for the sound events to live, discuss, coexist.
The sound materials are taken from sounds of the show technique (laying of dance floors, navigation of a lifting platform) as well as from traditional instrumental sources (piano, timpani, synthesis). They are mixed regardless of value, all being used for their sonic and evocative characteristics.
(premiered on March 25, 2019, Mixtur Festival, Barcelona)
2nd part: Danse (Dance)
Acousmatic music / 2018-2019 / 15 ’/ stereophonic
Acousmatic music / 2018-2019 / 15 ’/ stereophonic
Here it is the belching bodies of dancers that we hear, accompanied by the spiciness of a personified and tempo sound synthesis.
The sound materials - mainly from my periods of creation residency with a dance company (Vilcanota) - evolve and discuss throughout this framework, or rather at the edge of this framework. Entry of artists, heating, rehearsal and show, the process is classic.
(creation on September 21, 2019, Effervescence, Clermont-Ferrand)
The sound materials - mainly from my periods of creation residency with a dance company (Vilcanota) - evolve and discuss throughout this framework, or rather at the edge of this framework. Entry of artists, heating, rehearsal and show, the process is classic.
(creation on September 21, 2019, Effervescence, Clermont-Ferrand)
Part 3: Fantasmagorie (Phantasmagoria)
Commission for the Futura Festival 2019 (Motus / France)
Acousmatic music / 2019 / 22 ’/ stereophonic
Commission for the Futura Festival 2019 (Motus / France)
Acousmatic music / 2019 / 22 ’/ stereophonic
The sound actors are not this time from the entertainment world but from deeply manipulated instrumental and human extracts. Their way of moving is also at odds with the two previous parts.
A large and wide movement takes place, taking the aspect of a continuum where each entry is without exit (or final). The listener is caught in an almost constant tension and attends an imaginary, fantasized spectacle.
(Reception in creation residency: éOle, musical creation studio
premiered on August 23, 2019, Festival Futura, Crest)
A large and wide movement takes place, taking the aspect of a continuum where each entry is without exit (or final). The listener is caught in an almost constant tension and attends an imaginary, fantasized spectacle.
(Reception in creation residency: éOle, musical creation studio
premiered on August 23, 2019, Festival Futura, Crest)
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