for experiencers — for ensemble (harp, guitar, cello, violin, trombone, alto saxophone, two flutes, accordeon, percussions) and electronics
similar to for blandine&maciej, the piece consists of a probabilistic transition between two very close tunings and is based on an unmeasured notation. i was especially curious to experiment with this type of unmeasured notation when it is applied to 10 people all at once (or more exactly: one unmeasured voice made of the duo harp/guitar, and another unmeasured voice made of the rest of the ensemble). the performers were responsible for continuously re-creating some momentum in pacing, variety and expressivity in their way of playing, both on an individual and a collective level. most importantly, they had to listen to each other. the piece thus depends on a synergy between the different instrumentalists.
in general, i would say the piece presents many flaws and its core ideas are still at an embryonic stage, but i look forward to continuing to deepen them in future works. mostly, and especially since this was my first piece for ensemble, i'm grateful to have worked with a group of very committed & talented musician-experiencers:
Paulo Amendoeira (percussion) Paola Aviles (harpe) Amélie Berson (flute) Phoebe Bognár (flute) Félix Lacquement (guitar) María Alejandra Jiménez (violin) Thierry Madiot (trombone) Mireia Pellisa Martín (saxophone) Carlo Sampaolesi (accordion) Adèle Viret (cello) + special thanks to Thomas Nicholson (Cage-clock-conducting)
i'm also thankful for all the contributions of the two tutors of the project, Cat Lamb & Jean-Luc Guillonet, as well as my fellow composer-experiencers: Thomas Nicholson, Augustin Soulard, and Zeynep Toraman.
commissoned by GMEA — Centre National de Création Musicale d'Albi-Tarn & part of the project 'experiences'
recording made at the Athanor, Albi, 06.08.2022
recording/ mixing by Benjamin Maumus, sound engineering at GMEA
