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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
  • 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
    • Sivan Eldar in Studio
    • Mauro Lanza in studio
    • Chloé Thévenin in studio
    • Oren Boneh in studio
    • Tristan Murail in studio
    • Martin Matalon in studio
    • Sébastien Gaxie in studio
    • Murcof in the studio
    • Vimala Pons in studio
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 24.25
    • 2024-2025
    • Replay Concerts
    • Seasons from 1996 to present
    • ManiFeste-2024 Website
    • ManiFeste festival from 2012 to 2024
    • 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 2025.26
    • Max, Max for Live
    • Computer-Assisted Composition
    • ASAP & Partiels
    • Sound spatialization
    • Generative AI
    • Practical Information
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    • Cursus Program on Composition and Computer Music
    • Master ATIAM
    • Sound Design Master's Program
    • Mixed-Music
    • AIMove Master
    • Discover Research at IRCAM
    • Cultural Outreach
    • Cultural Mediation at Middle School Students
    • Médiations culturelles au lycée
    • Digital Workshops
    • TACT
    • Images of a Work Collection
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    • ManiFeste-2025 Festival Academy
    • 2025 ÉLAN award
    • Spatial Composition Workshop
    • In Situ Polytopes
    • ULYSSES Ensemble
    • Auditors
  • Innovations

    Engaged with societal and economic issues at the intersection of culture and IT, research at Ircam has forged a reputation for itself in the world of international research as an interdisciplinary benchmark in the science and technology of sound and music, constantly attentive to the new needs and uses in society.

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  • Visions








Thu 13 June 2024,
8 p.m.
Centre Pompidou
Grande salle
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programme_visions.pdf

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Full : 18 €
Discount Price : 14 €
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Creation
Concert






Visions

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Twenty years after his death, Fausto Romitelli still exerts a strong influence on the younger generation of composers. He embodies the successful hybridization of pop and savant, expressive chaos and fusional pulsation, the psychedelic state accepted and overcome, as evidenced by the violence of Amok Koma.

Hallucinations and inner visions? They are part of Matteo Franceschini's Visions, marked by the unbridled imagination of William Blake, pre-romantic engraver, draughtsman, painter, and poet. The dramaturgy is set in a world of archetypes, attractions and repulsions between text and music. Appearance or truth? Pasquale Corrado's Eterno Vuoto takes up this age-old question, raised by Plato, Marcus Aurelius and Saint Paul, and turns it into the argument of his creation, in which vocality invades the ensemble and electronics. Physical tension and resistance of the instrument: another great Romitellian gesture? Eva Reiter's Konter is born of this unresolved body-to-body confrontation.

Ljuba Bergamelli soprano
Laura Muller mezzo-soprano
Ensemble Multilatérale
Léo Warynski direction
Manuel Poletti IRCAM electronics
Francesco Abbrescia electronics (for Eterno Vuoto)
Luca Bagnoli IRCAM sound diffusion

Matteo Franceschini Visions, commissioned by IRCAM-Centre Pompidou, the ensemble Multilatérale, Milano Musica, with the support of the Sacem, French premiere
Pasquale Corrado Eterno Vuoto, French premiere
Fausto Romitelli Amok Koma
Eva Reiter Konter, Premiere 2024 of the new version for contrabass flute in C

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  • https://www.centrepompidou.fr/en/
Coproduction Ircam/Les Spectacles vivants-Centre Pompidou.
  • Le compositeur Matteo Franceschini  © Amandine Lauriol
    Le compositeur Matteo Franceschini © Amandine Lauriol
  • Le compositeur Pasquale Corrado  © Paola Arpone & Paolo Sicardi
    Le compositeur Pasquale Corrado © Paola Arpone & Paolo Sicardi
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