Sebastian Rivas

avant-concert à 19h animé par Omer Corlaix en présence des compositeurs

Sébastian Rivas
Brisure spontanée de symétrie

création mondiale / commande de l’Etat
2 flûtes, clarinette, trombone, percussion, piano, violon, alto, violoncelle, contrebasse, dispositif électroacoustique

Jean Luc Hervé

création mondiale / commande d’Etat 2 flûtes, clarinette, cor, percussion, piano, violon, alto, violoncelle, contrebasse, dispositif électroacoustique

Enno Poppe

Salz
création française flûte, hautbois, clarinette, saxophone, percussion, synthétiseur, violon, alto, violoncelle

Pierre Roullier direction
Muse en Circuit technologie informatique
durée : 1 h 00   14/05/2009, 20 h 00
CRR de Paris. Rue de Madrid
entrée libre réservations : 01 47 06 17 76
coproduction : Ensemble 2e2m, La Muse en Circuit - Centre national de création musicale avec l'aide du CRR de Paris

Parcours croisé Musique mixte et acousmatique

Ensemble Diagonal

Direction: Rut Schereiner

Muse en Circuit technologie informatique
CRI de Châtenay Malabry

Œuvres de F. Bayle, L.Naon, S. Rivas. C. Zanessi

World Premiere of String Trio "Trio à Cordes"

UQBAR

pour Violoncelle augmenté et dispositif électroacoustique.

Concert TREMPLIN Ensemble Intercontemporain

10 Janvier 2009. Centre Georges Pompidou. Grande Salle

Violoncelle: Pierre Strauch
Assistant Réalisation Informatique Musicale: Mikhaïl Malt 

listen
Recorded at Ircam espace de Projection.October 2006

The title of the piece comes from Jorge Luis Borges’s novel ”Tlön, Uqbar, Orbis tertius”, who treats on the epistemological question of the influence of language structures in the perception of reality. In the Land imagined by Borges (Tlön), the « doctrine of materialism » is considered as an elegy, in opposition of  Berkeley’s idealism, well known by questioning the existence of the sound of a falling tree when there is nobody to hear it (problematic solved by Berkeley by telling us that there will always be God to listen to it). Therefore, in Tlön, a Berkley’s idealism, which gives to perception the main role and denies all subjacent reality, is considered as common sense. In Borges’s tale, Uqbar is the imaginary land described in Tlön’s literature, which gives him the characteristic of being a double fictional place.  Inspired by this novel and by the irony of its subject, I have intentionally chosen a diverted instrumental  language, as the base of the electronic treatments, in the goal of creating a double fictional world by relationship to Cello’s historical references. The instrumental writing consists on a suite of gestures and actions for the bow, chosen by their perceptual qualities, and who founds their completeness by the electronic extension.   

Finally, the idealism I wanted to explore was the writing of a Cello piece just by imagining the concatenation of gestures, that’s the reason why I’ve explored the possibilities of just playing in a wood sordina like in the beginning of the piece. Also, the harmonic material of the whole piece is based upon the spectral analysis of a multiphonic sound, for which I’ve designed a routine in Open-Music and Audio-sculpt in order to find the exact pitches contained and the exacts amplitudes of each partial.

This multiphonic sound generated by the cello itself  is described along the piece in its different characteristics, from the most noisy and lower pitch (virtual fundamental) to the highest pitch contained in the spectrum.  Furthermore, all the electronic sounds of the piece have been generated by the Cello, either by real time synthesis or by studio various manipulations. 

Orbis Tertius

 pour quatuor à cordes et dispositif électroacoustique

Orbis Tertius

 pour quatuor à cordes et dispositif électroacoustique