Olivier Messiaen liked to call himself a composer, a rhythmicist, and an ornithologist all at the same time, especially when he recorded the songs of birds in different parts of the world. Rhythmic vivacity, melodic virtuosity: Messiaen undertook his immense Catalogue d'oiseau, which ends with Le Courlis cendré that lives on the island of Ouessant. "Slow and sad tremolos, chromatic ascents, wild trills, and a tragically repeated glissando call, which expresses all the desolation of the seascapes."
Location, time, territory: Florent Caron Darras records landscapes with a 3D microphone and then analyzes them, replacing certain original sounds with instruments or synthesizers. The imagined sounds are inserted precisely in time and space, analogous to the acoustic manifestation of wildlife in its environment; a transfer from a real to an imaginary landscape. Finally, Natasha Barrett masters the practice of electronic land art. She explores here the potentialities of ambisonic immersion with three sound metaphors: an umbrella, a lock, optical tubes.
Laurent Cuniot conductor
Augustin Muller IRCAM electronics
Florent Caron Darras Transfert - Premiere 2022
Commissioned by IRCAM-Centre Pompidou and the Ensemble TM+
Olivier Messiaen Le Courlis cendré
Natasha Barrett Hidden values
Meet the artists after the concert!