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Showing posts from March, 2015

Accordion & Live Electronics @ Electrocution 2015

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Accordionist Céline Rivoal, a teacher at Brest conservatory, is passionate about new music, written or improvised. During the electrocution festival, on Friday, March 27th, Céline is playing the French première of Testo, by Composer Davide Ianni. This piece is written for accordion & live electronics, with quadrophonic sound projection. Note that this composition used to be called Forme in Scia - you may listen to a recording in Davide Ianni's Listening Room. Davide studied with Joshua Fineberg, a great composer and connoisseur of spectral music. You can hear this in Davide's music, with his careful attention to timbre, to how the electronics and the live accordion fade in and out of each other. Davide programmed the live electronics are made with Max.Accordion explained to composersDavide worked with accordionist Luca Piovesan. Download his free e-book: accordion4composers. He also just released a new album: Luca Piovesan - Sul Tasto(amazon.com link).

Saxophone & Live Electronics @ Electrocution 2015

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Composer Julien Vincenot will be in Brest at the end of this week, for the electro[]cution interactive music festival, organized by the Ensemble Sillages. Saxophonist extraordinaire Stéphane Sordet will perform Julien's composition silent_data_corrupt during the Electrolib concert on Friday, March 27th.
Excerpt from the first page of the score. Julien Vincenot composed this work for alto saxophone and live computer (appellation by the composer) during his Cursus year at Ircam. Here is the video of the premiere, with saxophonist Nikita Zimin:I'm looking forward to meeting with Julien again - last time was during last year's July 2015 Prisma meeting at Ircam.

Back to Gershwin & Stravinsky

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I'm playing the bass clarinet tomorrow in Lorient, for a concert dedicated to Gershwin, Kurt Weill and Stravinsky's Ebony Concerto. Orchestra conductor Laurent Goossaert is great: he is pushing the orchestra to its very best. Rhapsody in Blue should sound really good - of course, I still have a special feeling for the 1932 version we performed with Ryan Bañagale & the Dudley Jazz Band.To learn more on Gershwin and the Rhapsody as a composition and an evolving arrangement, make sure you read Ryan Bañagale's book Arranging Gershwin: Rhapsody in Blue and the Creation of an American Icon.