Recording residence.
Glade
A glade is a special place, open or enclosed depending on the point of view, where ecosystems develop that cannot live elsewhere.
Clairière is an invitation to discover a renewed, hybrid nature. Proxima Centauri transports musicians and spectators into a new clearing, where electronics and organics blend to give shape to new sounds.
As every clearing is condemned to revert to forest from the moment of its creation, this sound clearing is ephemeral, carried by the musicians' struggle to make it exist in the face of silence or noise.
The clearing is a symbol of the duality between full and empty. The opportunity to question the dialogue between voice and electronics, two mediums that evoke a mixture between the real and the unreal. A phantasmagorical journey through our dreams, our History, our legends and our universe.
The Second Coming
This is one of a series of pieces with voice and electronics, in which the dialogue between the two mediums evokes a mixture of the real and the unreal, but also a kind of fear that the phantasmagorical dream may become reality. In this piece, The Second Coming, we find the text of Irish poet William Butler Yeats, as well as short phrases, a few isolated words in French. Sonic and poetic spaces will confront each other: the extension of a reigning chaos will be confronted by an intimate, poetic and closed space. To reflect this idea in the sound and formal design, the piece articulates two sound spaces: on the one hand, the stage space, two musicians and the radiance of the piano; on the other, the space surrounding the audience, traversed by growing whispers and waves of sonic granulation. The harmonic fabric will gradually be torn apart and consumed by a kind of "beast" that will detach itself from the sound piece.
Glade from Núria Giménez Comas
Commissioned and co-produced by
GMEM
Núria Giménez Comas
composer
Núria Giménez Comas studied piano, then mathematics, before turning to composition at Esmuc (Escola Superior de Musica de Catalunya, Barcelona) in 2006. She trained with Christophe Havel, who immediately introduced her to pure electroacoustics and the importance of working with timbre, whether in terms of timbral and harmonic expansion, timbre/harmony cohesion or the interaction between computer and instrumentalist. During this period, she also attended composition seminars with Helmut Lachenmann, Michaël Levinas and Klaus Huber.
From 2010 to 2012, she continued her studies at the Haute Ecole de Musique de Genève with Michael Jarrell, Luis Naón and Eric Daubresse. As part of her Master's thesis, she focuses on research into sound perception, and develops a reflection on the concepts of sound image and masking. Attracted by working with images and multidisciplinarity, in 2012 she took part in the ManiFeste Academy's In Vivo-Video workshop. From 2012 to 2014, she attended the Ircam Composition Course. In this framework, she carries out projects on synthesis using physical models and a project on sound scenes with the Ambisonics 3D spatialization system. In 2017 and 2018, she joined Ircam's artistic research residency program in collaboration with ZKM, this collaborative research project led with Marlon Schumacher explores and develops the notion of 3D spatial sculpture with work on texture synthesis.
She has taken part in the Académie de Villecroze, the Académie Schloss Solitude, the Forum Tactus in Brussels, Voix Nouvelles (Royaumont).
Her pieces have been performed by the Quatuor Diotima, the Orchestre de Chambre de Genève, the Ensemble Contrechamps, clarinettist Harry Sparnaay, the Klangforum Wien trio and the Brussels Philharmonic, among others. In 2012, she founded the Ensemble Matka (Geneva).
She is currently working on a musical fiction, commissioned by Ircam, taken from Anja Hilling's Nostalgie 2175, with director Anne Montfort. At the same time, she is collaborating with the latter on a mini-opera project based on the text Shadow. Eurydice says by Elfriede Jelinek, commissioned by Barcelona's Grand Théâtre du Liceu.
© Ircam-Centre Pompidou, 2018
Thu. July 18, 2024
Núria Giménez-Comas
composer