The composition workshops offer young composers the opportunity to work on specific themes defined by guest composers. Through work sessions and rehearsals with artists and performers, the young participants benefit from the experience and advice of their elders to produce and finalize a new work.

ManiFeste-2022 © Quentin Chevrier

Collaboratory Ciné-concert - Percussion and electronics

An inspired synthesis of instrumental music and the multiple possibilities of electronics, mixed music for solo percussionist and electronics offers a flexible, yet powerful profusion of sound. On one side, we have the rich palette of the soloist, with their dramatic presence on stage, their virtuosity, their rich sounds, their experience, their charisma... on the other, all the extensions of sound, timbre, space and time, as well as the possibility of superimposing several sound planes that electronics make possible.

Composer Martin Matalon and the BL!NDMAN [drums] collective are offering six young composers a cinema-concert workshop, in which they will create original scores for silent comedy films.

The 6 selected composers : Anne Castex (France), Krõõt-Kärt Kaev* (Estonia), Natalia Laguens* (Spain), Ji young Lee (South Korea), Mario Moya Sánchez (Spain), Ján Števuliak* (Slovakia). Their compositions to the film The Cook by Roscoe 'Fatty' Arbuckle featuring Buster Keaton and the short films Bubbles, Invisible Ink and Trip to Mars from the Out of the Inkwell series by Max Fleischer, can be heard during free Fête de la Musique event Collaboratory Ciné-Concert on June 21 at CENTQUATRE-PARIS.

*part of ULYSSES journeys for composers, by ULYSSES network, supported by the Europ

Production IRCAM-Centre Pompidou. With the support of Maison de la Musique Contemporaine, Sacem and the ULYSSES network supported by the European Union’s Creative Europe program. IRCAM and the CENTQUATRE-PARIS are partners for experimental performance projects.

Solo and amplification

Amplified sound: a radical transformation of the musical instrument.

The microphone and the loudspeaker are two essential instruments in electronic/electroacoustic/mixed music. The sound of an acoustic instrument is so complex and so profoundly different from that of a loudspeaker, that the latter is the first electronic musical "instrument" that the mixed-music composer has to consider. The microphone completely alters the perception of instrumental sound, upsetting its internal relationships, and bringing to the ear elements that would never be heard in an acoustic situation. Many instruments are built to sound "good" at a distance of a few meters. Close-up listening, or even microscopic listening, allows us to hear something other than the instrument heard in a concert hall.

Italian composer Francesca Verunelli invites participants in this workshop to explore, collectively during rehearsals, amplified sound as a radical and fundamental transformation of the musical instrument. Participants test different types of microphones to discover the sonic identities of their chosen instrument (clarinet, violin, or accordion). The workshop focuses on the decomposition and recomposition of sound, through intensive use of the microphone/diffusion relationship. Composers can also imagine simple signal processing (in the Max/MSP environment) or the broadcasting of a tape that integrates with the instrumental writing. However, economy of these means (DSP in particular) is encouraged.

The 6 selected composers : Nik Bohnenberger (Luxembourg), Bo Huang (Chine), Jaeduk Kim (Corée du Sud), Geli Li (Chine), Matthew Monaco (États-Unis), Felix Römer (Allemagne)

Coproduction IRCAM-Centre Pompidou, Ensemble intercontemporain, ensemble associated with the Academy. In partnership with the École nationale supérieure Louis-Lumière. With the support of Maison de la Musique Contemporaine and Sacem.