ICMC/25/d1/1930 Concert n04/07 Taideji
Taideji
My Notes
- 21:02 Person/Lara Morciano is at left in a sparkly outfit with her arm inside the piano, ravvaging it.
- Person/Thierry Miroglio is at the right with a full percussion kit
- Person/Jose Miguel Fernandez is on laptop
- 21:04 some sounds like corks being pulled out slowly,
- then some beads are shaken and turn into skittering slips
- they are really playing with Somax2 here - it feels alive. I wonder how much the laptop artist Person/Jose Miguel Fernandez is doing here. is he controlling hyperparameters, using live samples, etc?
- I like the stuttering spiral of the snare that somax is spinning around the room with samples from thierry
- this is such a great space for this concert!
- the snare is traveling around with incredible force, like a train in a circle
- now the drums back off, and we get the piano
- clusters of chunks are dashed and chopped, speeding up samples of her grinding on the lower strings earlier.
- i see that jose has some kind of controller now.
- ooh, now we have to get our ears opened to these electronic buzzes, that explode with wet lips, while Person/Thierry Miroglio's bells and maraca stokes into a rattlesnake's spin,
- snare starts and comes across thierry's stick and out into the room, spinning out,
- ooh, now some low toms sound even weirder with somax2's processing
- wow, this is really cool, now the snares are getting split apart some how?
- hard to say what I mean, but it's like the 4-5 snare beats get lengthened and changed in timing, becoming a texture.
- i think this was one of my favorite piecess so far in the concert. it's playful, serious, there's enough room in the hall (enough empty space for things to resonate and breathe)
- 21:13 spooky piano dreams from Person/Lara Morciano's gentle submissions to Somax2. very spooky. didn't expect to end up here.
- when you have 8 channels, when do you not decide to spin a sound around the room?
Credits
Person/Lara Morciano #Composer #Pianist #Performer
- After her musical studies in Italy and a Master’s degree in composition with Franco Donatoni at the National Academy of Saint Cecilia, Lara Morciano develops her artistic and research activities in France, notably at the Strasbourg Conservatory, at Ircam, at Paris 8 University and at PSL Research University (PhD SACRe). Her compositions are performed at the most prestigious festivals in Europe, USA, Asia and Oceania. She received commissions from the French Ministry of Culture, Ircam-Centre Pompidou, the Ensemble intercontemporain, Radio France, The Venise Biennale, ZKM, GRAME/Auditorium Orchestre de Lyon, Ensemble Orchestrale Contemporain, Musica-Strasbourg, Printemps des Arts of Montecarlo, festival Ensemble(s), Pablo Casals…Winner of the 2008 Tremplin selection of the Ensemble intercontemporain and Ircam, she won the Giga-Hertz Prize international composition competition in Germany in 2012, the ICMA Audience Award for Best Music Presentation at the International Computer Music Conference (ICMC) in New York in 2019 and the Prix Navista in 2022. In her mixed works, the use of computer devices links different aspects of her compositional research: instrumental virtuosity, timbral research, rhythmic articulation, real-time interaction, co-creativity and production of spatio-temporal forms in the listening space.
Person/Thierry Miroglio, #Percussionist #Performer
- Thierry Miroglio is realizing a brilliant solo career invited to give in 40 countries recitals, concerts in numerous venues, prestigious Festivals from Salzburg, Berlin Philharmonie to New York, Venice Biennale and Paris, from Sao Paulo, Beijing and Mexico city to Tokyo, Hong Kong and Chicago… Actually one of the very few percussionists in the world to realize such a high level of solo activity with a repertoire of more than 400 works (solo and concerti). Close collaboration with prestigious composers as Cage, Berio, Saariaho, Denisov, Donatoni, Battier, Teruggi, Unsuk Chin, Grisey, Zhang Xiaofu, Chagas, Stroppa, Barriere, Fernandez, Mochizuki, Risset, Morciano , Nodaira, Manoury, Jolas, Fedele, Dufourt …. giving premieres of their pieces, many dedicated to him. Numerous international Radio-TV productions, more than 20 soloist CD’s for various labels (incl. The world of percussion by Naxos). Professor at D.Milhaud Conservatory (Paris, Miroglio gives masterclasses, Recitals tours which join Music, visual and numeric Arts, crossing Theater, Dance in Europe, Asia, Africa, South America and USA. Solo concerti accompanied by prestigious orchestras. www.thierrymiroglio.com
Person/Jose Miguel Fernandez #Performer
- José Miguel Fernández is a composer and researcher. He studied music and composition at the University of Chile and the LIPM in Buenos Aires, Argentina. He later pursued advanced composition studies at the Conservatoire National Supérieur de Musique et de Danse de Lyon and completed the IRCAM Cursus in composition and computer music. His work spans instrumental, electroacoustic, and mixed music. His compositions have been performed across the Americas, Europe, Asia, and Oceania, and he has taken part in numerous international festivals. He was selected for the Bourges International Electroacoustic Music Competition and received both the GRAME–Ensemble Orchestral Contemporain International Composition Prize in Lyon and the Giga-Hertz Award from ZKM/EXPERIMENTALSTUDIO in Germany. In 2021, he earned a Ph.D. in music (composition as research) from Sorbonne University/IRCAM. He is currently engaged in postdoctoral research on Somax2, an AI-based system for composition and co-improvisation, within the RepMus team at IRCAM. His research focuses primarily on electronic music composition, improvisation, and the development of new tools for mixed and electroacoustic music. Alongside his compositional work, he is actively involved in pedagogical and creative projects integrating computer music.
#Description
In Taideji, the collaboration between the performers is rooted in an exploration of the dynamic relationship between acoustic instruments and electronics, incorporating the interactive possibilities offered by Somax2.
The sonic palette of the piano at times low, distorted, and percussive, at others bright and resonant, interacts with the rich colors of the percussion, shaping a musical journey marked by strong contrasts and an ever-shifting energy, oscillating between density and rarefaction.
On the electronic side, the two acoustic instruments are processed in real time through various techniques, while Somax2 establishes a sensitive and reactive connection between instrumental performance and generated sound material, enriching the dialogue between human and machine.