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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Perception and Sound Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "Transfer" for 10 Musicians and Electronics
    • L'Annonce faite à Marie
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2022.23
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • ManiFeste festival from 2012 to 2022
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

    • 2022.23 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • TS2 and Partiels
    • Sound spatialization
    • From PureData to audio plugins
    • Sensors, Interfaces, and Interactive Machine Learning
    • Other training programs
    • Practical Information
    • Advanced Programs
    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
    • Music Doctorate
    • AIMove Master
    • School Programs
    • Studios of Creation
    • Mixed-Music
    • Artistic and Cultural Education
    • Career Discovery Visit
    • Images of a Work Collection
    • ManiFeste-2022, the Academy
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

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Fri 12 April 2019,
8:30 p.m.
Cité de la musique
Salle des concerts
Prices

Full : 18 €
Discount Price : 15.30 €
IRCAM Card : 15.30 €

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Creation
Concert






In Between

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The experience of the interlude, imagined by Matthias Pintscher, the ensemble intercontemporain, and a scenographer includes works that reside in the limits of sound. Anahit by Giacinto Scelsi, a musical poem dedicated to  Venus, with a solo violin, pushes the thresholds of perception with a lyricism close to silence. Yann Robin’s Art of Metal II is the complete opposite; written for Alain Billard’s metal contrabass clarinet, this work clashes with the physical boundaries of sound saturation. Helmut Lachenmann—who always connects new instruments with new listening—concentrates his Guero on the noises of the piano keyboard, making sure to never make the instrument sound "naturally". This method is one that Aureliano Cattaneo transforms in Corda, this time using electronics. In Mouvement (– vor der Erstarrung) again by Lachenmann, we adventure towards the passage from life to death. The organization of the musical works responds to the structure of a hand-woven sculpture, a spiderweb of memories, a cocoon signaling a new form like the sails by the painter Cy Twombly in his famous Treatise on the Veil, a source of inspiration for Matthias Pintscher.

Diego Tosi violin
Jeanne-Marie Conquer violin
Alain Billard clarinet
Sébastien Vichard piano
Ensemble intercontemporain
Matthias Pintscher conductor
Thomas Goepfer, Yann Robin IRCAM computer music design
Alexander Fahima concept, production
Nandor Angstenberger installation
Katrin Wittig director, lighting

GIACINTO SCELSI ANAHIT, POÈME LYRIQUE DÉDIÉ À VÉNUS
YANN ROBIN ART OF METAL II
HELMUT LACHENMANN GUERO ; MOUVEMENT ( - VOR DER ERSTARRUNG)
AURELIANO CATTANEO CORDA ; NEW WORK, Premiere 2019
commissioned by the Ensemble intercontemporain
MATTHIAS PINTSCHER STUDY III FOR TREATISE ON THE VEIL

Edit
An Ensemble intercontemporain, Philharmonie de Paris coproduction in partnership with IRCAM-Centre Pompidou.
  • Matthias Pintscher  © Franck Ferville
    Matthias Pintscher © Franck Ferville
  • Yann Robin  © Jean Radel
    Yann Robin © Jean Radel
  • Helmut Lachenmann  © Quentin Chevrier, 2018
    Helmut Lachenmann © Quentin Chevrier, 2018
  • Ensemble intercontemporain  © Franck Ferville
    Ensemble intercontemporain © Franck Ferville
  • Aureliano Cattaneo  © Lucía Núñez García
    Aureliano Cattaneo © Lucía Núñez García
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