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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
    • Sound Perception and Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Finished Projects
    • 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
    • Vimala Pons 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 23.24
    • Season 2023.24
    • Replay: 2022.23 Concerts
    • Seasons from 1996 to present
    • ManiFeste-2023 Website
    • ManiFeste festival from 2012 to 2023
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In support of IRCAM's research and creation missions, the educational program seeks to shed light on the current and future meaning of the interactions among the arts, sciences, and technology as well as sharing its models of knowledge, know-how, and innovations with the widest possible audience.

    • Training Courses
    • Training Courses 2023.24
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • Sound spatialization
    • Designing Audio Experiences on the Web
    • Interact, Compose, Improvise with Generative Agents
    • Other training programs
    • Practical Information
    • Higher Education
    • Cursus Program on Composition and Computer Music
    • Master ATIAM
    • Sound Design Master's Program
    • Mixed-Music
    • Music Doctorate
    • AIMove Master
    • Discover Research at IRCAM
    • Cultural Outreach
    • Cultural Mediation
    • Digital Workshops
    • TACT
    • Images of a Work Collection
    • Group Tours
    • ManiFeste-2024 Festival Academy
    • 2024 ÉLAN award
  • 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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  • Le siècle de Ligeti








Fri 17 March 2023,
8 p.m.
Ircam
Espace de projection
Downloads

prg-siecle-ligeti.pdf

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Full : 18 €
Discount Price : 14 €
Pass Ircam : 10 €
Youth Pass : 5 €

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Le siècle de Ligeti

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The Ligeti century (1923 - 2006) began musically in the 1950s. In his second quartet, each movement is presented as palette that is open and closed, homogeneous and fractured, revealing the Hungarian composer's trademark gesture: an uncontrolled mechanism of clocks or the continuum, vehemence or repetition. This masterpiece is the most perfect and complete mirror of the entire Ligétian adventure. Sasha J. Blondeau's quartet is based on six territories with their own specificities, their access points, their geography. A topology of hostile places, of power and stalking explored by the quartet. Luis Naón, for his part, plays with the symbiosis between the string quartet and the immersive electronics operated by the ambisonic dome. A form of theatricalization of the concert space and the virtual space.

Quatuor Diotima
Yun-Peng Zhao violin
Léo Marillier violin
Franck Chevalier viola
Pierre Morlet cello
Serge Lemouton, Augustin Muller IRCAM electronics

György Ligeti Quatuor n° 2
Luis Naón Quatuor à cordes n° 3 – French Premiere
Commissionned by IRCAM-Centre Pompidou, the ProQuartet – Centre européen de musique de chambre Paris et de l'ICST – Institute for Computer Music and Sound Technology
Sasha J. Blondeau Des mondes possibles – French Premiere
Commissionned by Françoise et Jean-Philippe Billarant

Meet the artists after the concert!


IRCAM-Centre Pompidou Production.

For safety reasons, the Espace de projection is not accessible to visitors with reduced mobility. We apologize for the inconvenience.

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  • Le compositeur Sasha J. Blondeau  © DR
    Le compositeur Sasha J. Blondeau © DR
  • Le compositeur Luis Naón  © Diego Pittaluga
    Le compositeur Luis Naón © Diego Pittaluga
  • Le Quatuor Diotima  © Le Quatuor Diotima
    Le Quatuor Diotima © Le Quatuor Diotima

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Listen to the concert « Des mondes possibles »

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Works by Sasha J. Blondeau, with the Quatuor Diotima
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