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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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  • OPUS








Sat 22 June 2019,
6:30 p.m., and
Sun 23 June 2019,
5 p.m.
La Scala Paris
Downloads

programme_opus.pdf

Prices

Full : 25 €
Discount Price : 19 €
ManiFeste/Young Card : 12 €

Edit
Creation
Performance






OPUS

Edit






Audio-visual performance, Premiere 2019
Edit






Can you dance to contemporary music? This odd question from Matteo Franceschini encouraged him to push the “classical concert” form towards the dance floor. Opening like an evening of chamber music, little by little OPUS transforms the musical and visual narrative—oneiric and theatrical—into a purely electro stage. In this creation, the string quartet, an emblematic genre in classical music, dialogues with technological systems, creating a continual interaction with the video and lighting. Here, perspective is used as a mode of representation and a system for the set design: the technique of photograms in which you scan and compose real images—here unfinished constructions in the south of Italy—with very different points of view. The 3D virtual décor will be modified live by the vibrations and distortions of the quartet.

TOVEL (Matteo Franceschini) music, commissioned by IRCAM-Centre Pompidou, ProQuartet-Centre européen de musique de chambre
1024 architecture (François Wunschel, Pier Schneider) visuals
Manuel Poletti IRCAM computer music design

Performers
TOVEL live electronics
1024 architecture live video and set design
Quartetto Maurice
Georgia Privitera, Laura Bertolino violins
Francesco Vernero viola
Aline Privitera cello

Edit
An IRCAM-Centre Pompidou, La Scala Paris - Les Petites Heures, 1024 architecture coproduction. With the support of Mécénat Musical, Société générale.
  • © 1024 Architecture et TOVEL  None
    © 1024 Architecture et TOVEL
  • © 1024 Architecture et TOVEL  None
    © 1024 Architecture et TOVEL
  • © 1024 Architecture et TOVEL  None
    © 1024 Architecture et TOVEL
  • © 1024 Architecture et TOVEL  None
    © 1024 Architecture et TOVEL
  • © 1024 Architecture et TOVEL  None
    © 1024 Architecture et TOVEL
  • Opus  None
    Opus
  • Quartetto Maurice  © DR
    Quartetto Maurice © DR

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Premiere by TOVEL (Matteo Franceschini) & 1024 architecture.
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