IRCAM
IRCAM (Institut de Recherche et Coordination Acoustique/Musique, or Institu… Read Full Bio ↴IRCAM (Institut de Recherche et Coordination Acoustique/Musique, or Institute for Research and Coordination in Acoustics/Music in English) is a French institute for science about music and sound and avant-garde electro-acoustic art music. It is situated next to, and is organizationally linked with, the Centre Georges Pompidou in Paris.
Several concepts for electronic music and audio processing have emerged at IRCAM. John Chowning pioneered work on FM synthesis at IRCAM, and Miller Puckette originally wrote Max at IRCAM in the mid-1980s, which would become the real-time audio processing graphical programming environment Max/MSP. Max/MSP has subsequently become a widely used tool in electroacoustic music. Many of the techniques associated with spectralism, such as analyses based on fast Fourier transforms, were made practical by technological contributions at IRCAM. For instance, researchers at IRCAM have developed a special microphone capable of isolating each of the cello's four strings for separate amplification or electronic treatment. Along with tools for sound synthesis and analysis, IRCAM has played an instrumental role in developing programs for visualization of musical form with the creation of OpenMusic, a Lisp-based visual programming language.
IRCAM provides classes to train composers in music technology. Composers who do not have programming experience to create the technology end of a piece for ensemble and electronics are provided with an assistant who helps them to realize technically intensive parts of the piece. The assistant will follow the conceptual advice of a composer with no technology experience to realize a computer part, or will help a composer who can program in Max/MSP to make their "patch" more efficient and elegant. Tristan Murail's Désintégrations is an example of a piece realized in this program by a composer with significant technological skill, whereas Harrison Birtwistle's The Mask of Orpheus required an active and creative role for the technology assistants, such as Barry Anderson and Ian Dearden.
In 1970 President Georges Pompidou asked Pierre Boulez to found an institution for research in music. In 1973 the section of the building underneath Place Igor Stravinsky was finished, and IRCAM opened in 1977. From the outset, Boulez was in charge of the institute. The initial administrators included Luciano Berio, Vinko Globokar, Jean-Claude Risset, and Max Mathews. 1990 IRCAM established the Cursus Program for young Composers, a training in Computer Music and Composition. In 1992 Boulez, who then became honorary director, was succeeded by Laurent Bayle. In 2002 the philosopher Bernard Stiegler became the new head of the institute. On January 1, 2006, Stiegler became Director of Cultural Development at the Centre Pompidou and was replaced by Frank Madlener.
Notable works written at IRCAM:
Hanspeter Kyburz: ΟΥΤΙΣ, music theatre for ensemble and electronics (2000–12)
Georges Aperghis: Machinations, musical spectacle for four women and computer (2000)
Clarence Barlow: Çogluotobüsisletmesi, versions for piano (1978), magnetic tape (1980), and piano with tape (1980)
George Benjamin: Antara for ensemble and electronics (1986–87)
Luciano Berio: Chemins ex V, for clarinet and 4C computer (1980)
Luciano Berio: Orpheo II, opera for voice, orchestras, and tapes (1984)
Luciano Berio: La Voix des voies, spectacle-exposition for tape and diaporama (1977)
Harrison Birtwistle: The Mask of Orpheus (1986)
Pierre Boulez: Anthèmes II, for violin and electronics (1997)
Pierre Boulez: Dialogue de l'ombre double, for clarinet and tape (1985); version for bassoon and electronics (1995)
Pierre Boulez: ...explosante-fixe..., version for two flutes, MIDI-flute, electronics, and orchestra (1993)
Pierre Boulez: Répons, for six soloists, chamber ensemble, electronic sounds, and live electronics (1981–84)
John Cage: Roaratorio, an Irish Circus on Finnegans Wake (1980)
Unsuk Chin: Double Bind? for violin and electronics (2006)
John Chowning: Stria, for magnetic tape (1977)
Chaya Czernowin: "Hidden", for string quartet and electronics (2014)
Edison Denisov: Sur la Nappe d'un étang glacé, for nine instruments and tape (1991)
Luis de Pablo: Tornasol (1980–81)
Michel Decoust: Interphone, for soprano and tape (1977)
Jacob Druckman: Animus IV (1977)
Pascal Dusapin: To Be Sung, chamber opera in 43 numbers (1992–93)
Karlheinz Essl: Entsagung (1993) for ensemble and electronics
Lorenzo Ferrero: Ombres (1984) for ensemble and live electronics
Luca Francesconi: Etymo (1994)
Rolf Gehlhaar: Pas à pas, for tape and spatialization equipment (1981)
Gérard Grisey: Les Chants de l'Amour, for twelve mixed voices and magnétic tape (1982–84)
Georg Friedrich Haas: Les temps tiraillés, for 2 violins, bassoon, and electronics (2008)
Jonathan Harvey: Advaya, for cello and electronics (1994)
Jonathan Harvey: Bhakti (1982)
Jonathan Harvey: Mortuos Plango, Vivos Voco, for concrete sounds treated by computer (1980)
Jonathan Harvey: Ritual Melodies, for magnetic tape (1990)
Jonathan Harvey: String Quartet No. 4 with live electronics (2003)
Jonathan Harvey: Speakings, for orchestra and live electronics (2008)
York Höller: Antiphon, for string quartet and tape (1977)
York Höller: Arcus (1978)
York Höller: The Master and Margarita, opera in two acts after the novel by Mikhail Bulgakov (1989)
York Höller: Résonance (1982)
Jean-Michel Jarre: Oxygène (1976)
Panayiotis Kokoras: Morphallaxis (2008) for ensemble and electronics
Barbara Kolb: Millefoglie (1985)
Philippe Leroux: M for ensemble and electronics
Michaël Lévinas: Rebonds (1993)
Magnus Lindberg: Joy for orchestra and electronics
Magnus Lindberg: Related Rocks for two pianos, two percussionists, and electronics (1997)
Magnus Lindberg: Ur (1986)
Luca Lombardi: Hasta que caigan las puertas del odio, for choir (1977)
Tod Machover: Soft Morning, City!, for soprano, contrabass and tape (1980)
Tod Machover: VALIS, opera for six voices, 4X computer, and images (1986–87/1988)
Mesías Maiguashca: Fmélodies, for ensemble and tape (1982)
Philippe Manoury: Jupiter for flute and live electronics
Philippe Manoury: Pluton for piano and live electronics
Philippe Manoury: En Echo for soprano voice and live electronics
Yan Maresz: Sul Segno, for harp, guitar, cymbalon, contrabass and electronic equipment (2004)
Tristan Murail: L'Esprit des dunes, for chamber ensemble (1993–1994)
Emmanuel Nunes: Lichtung I (1988/1991)
Emmanuel Nunes: Lichtung II, for chamber ensemble and electronics (1996)
Michael Obst: Kristallwelt, for Ensemble and Electronics (1983)
Robert H.P. Platz: Pièce noire, for thirteen musicians and tape (1990)
Henri Pousseur: Liège à Paris (1977)
Horațiu Rădulescu: Incandescent Serene, for contrabass and tape (1982)
Roger Reynolds: The Angel of Death, for solo piano, chamber orchestra, and six-channel computer-processed sound (2001)
Roger Reynolds: Archipelago, for orchestra and magnetic tape (1983)
Terry Riley: Salome Dances for Peace, for string quartet (1986)
Jean-Claude Risset: Inharmonique, for soprano and tape (1977)
Jean-Claude Risset: Mirages, for six musicians and tape (1978)
Jean-Claude Risset: Songes (1979)
Manuel Rocha Iturbide: Transiciones de Fase, for brass quartet and electronics (1994)
Frederic Rzewski: Instrumental Studies (1977)
Kaija Saariaho: Lonh, for soprano and electronics (1995–96)
Kaija Saariaho: NoaNoa, for flute and electronics (1992)[16]
Karlheinz Stockhausen: Kathinkas Gesang als Luzifers Requiem, version for flute and 6-channel tape (1985)
Marco Stroppa: In cielo, in terra, in mare, radiophonic opera on texts by Adolfo Moriconi (1992)
Jukka Tiensuu: Nemo for ensemble (1992)
Alejandro Viñao: Epitafios, for mixed choir and electronics (1999)
David Wessel: Antony (1977)
David Wessel: Contacts Turbulents, for saxophone and electronics (1986)
Trevor Wishart: VOX-5, an electroacoustic piece based around extended vocal techniques (1986)
James Wood: Mountain Language, for alphorn, cow bells, MIDI keyboard and electronics (1998)
Iannis Xenakis: Psappha, electronic version (1976/1996)
Frank Zappa: Perfect Stranger (1984)
Hans Zender: Lo Shu III, for flute and twenty-four instrumentalists (1979)
Several concepts for electronic music and audio processing have emerged at IRCAM. John Chowning pioneered work on FM synthesis at IRCAM, and Miller Puckette originally wrote Max at IRCAM in the mid-1980s, which would become the real-time audio processing graphical programming environment Max/MSP. Max/MSP has subsequently become a widely used tool in electroacoustic music. Many of the techniques associated with spectralism, such as analyses based on fast Fourier transforms, were made practical by technological contributions at IRCAM. For instance, researchers at IRCAM have developed a special microphone capable of isolating each of the cello's four strings for separate amplification or electronic treatment. Along with tools for sound synthesis and analysis, IRCAM has played an instrumental role in developing programs for visualization of musical form with the creation of OpenMusic, a Lisp-based visual programming language.
IRCAM provides classes to train composers in music technology. Composers who do not have programming experience to create the technology end of a piece for ensemble and electronics are provided with an assistant who helps them to realize technically intensive parts of the piece. The assistant will follow the conceptual advice of a composer with no technology experience to realize a computer part, or will help a composer who can program in Max/MSP to make their "patch" more efficient and elegant. Tristan Murail's Désintégrations is an example of a piece realized in this program by a composer with significant technological skill, whereas Harrison Birtwistle's The Mask of Orpheus required an active and creative role for the technology assistants, such as Barry Anderson and Ian Dearden.
In 1970 President Georges Pompidou asked Pierre Boulez to found an institution for research in music. In 1973 the section of the building underneath Place Igor Stravinsky was finished, and IRCAM opened in 1977. From the outset, Boulez was in charge of the institute. The initial administrators included Luciano Berio, Vinko Globokar, Jean-Claude Risset, and Max Mathews. 1990 IRCAM established the Cursus Program for young Composers, a training in Computer Music and Composition. In 1992 Boulez, who then became honorary director, was succeeded by Laurent Bayle. In 2002 the philosopher Bernard Stiegler became the new head of the institute. On January 1, 2006, Stiegler became Director of Cultural Development at the Centre Pompidou and was replaced by Frank Madlener.
Notable works written at IRCAM:
Hanspeter Kyburz: ΟΥΤΙΣ, music theatre for ensemble and electronics (2000–12)
Georges Aperghis: Machinations, musical spectacle for four women and computer (2000)
Clarence Barlow: Çogluotobüsisletmesi, versions for piano (1978), magnetic tape (1980), and piano with tape (1980)
George Benjamin: Antara for ensemble and electronics (1986–87)
Luciano Berio: Chemins ex V, for clarinet and 4C computer (1980)
Luciano Berio: Orpheo II, opera for voice, orchestras, and tapes (1984)
Luciano Berio: La Voix des voies, spectacle-exposition for tape and diaporama (1977)
Harrison Birtwistle: The Mask of Orpheus (1986)
Pierre Boulez: Anthèmes II, for violin and electronics (1997)
Pierre Boulez: Dialogue de l'ombre double, for clarinet and tape (1985); version for bassoon and electronics (1995)
Pierre Boulez: ...explosante-fixe..., version for two flutes, MIDI-flute, electronics, and orchestra (1993)
Pierre Boulez: Répons, for six soloists, chamber ensemble, electronic sounds, and live electronics (1981–84)
John Cage: Roaratorio, an Irish Circus on Finnegans Wake (1980)
Unsuk Chin: Double Bind? for violin and electronics (2006)
John Chowning: Stria, for magnetic tape (1977)
Chaya Czernowin: "Hidden", for string quartet and electronics (2014)
Edison Denisov: Sur la Nappe d'un étang glacé, for nine instruments and tape (1991)
Luis de Pablo: Tornasol (1980–81)
Michel Decoust: Interphone, for soprano and tape (1977)
Jacob Druckman: Animus IV (1977)
Pascal Dusapin: To Be Sung, chamber opera in 43 numbers (1992–93)
Karlheinz Essl: Entsagung (1993) for ensemble and electronics
Lorenzo Ferrero: Ombres (1984) for ensemble and live electronics
Luca Francesconi: Etymo (1994)
Rolf Gehlhaar: Pas à pas, for tape and spatialization equipment (1981)
Gérard Grisey: Les Chants de l'Amour, for twelve mixed voices and magnétic tape (1982–84)
Georg Friedrich Haas: Les temps tiraillés, for 2 violins, bassoon, and electronics (2008)
Jonathan Harvey: Advaya, for cello and electronics (1994)
Jonathan Harvey: Bhakti (1982)
Jonathan Harvey: Mortuos Plango, Vivos Voco, for concrete sounds treated by computer (1980)
Jonathan Harvey: Ritual Melodies, for magnetic tape (1990)
Jonathan Harvey: String Quartet No. 4 with live electronics (2003)
Jonathan Harvey: Speakings, for orchestra and live electronics (2008)
York Höller: Antiphon, for string quartet and tape (1977)
York Höller: Arcus (1978)
York Höller: The Master and Margarita, opera in two acts after the novel by Mikhail Bulgakov (1989)
York Höller: Résonance (1982)
Jean-Michel Jarre: Oxygène (1976)
Panayiotis Kokoras: Morphallaxis (2008) for ensemble and electronics
Barbara Kolb: Millefoglie (1985)
Philippe Leroux: M for ensemble and electronics
Michaël Lévinas: Rebonds (1993)
Magnus Lindberg: Joy for orchestra and electronics
Magnus Lindberg: Related Rocks for two pianos, two percussionists, and electronics (1997)
Magnus Lindberg: Ur (1986)
Luca Lombardi: Hasta que caigan las puertas del odio, for choir (1977)
Tod Machover: Soft Morning, City!, for soprano, contrabass and tape (1980)
Tod Machover: VALIS, opera for six voices, 4X computer, and images (1986–87/1988)
Mesías Maiguashca: Fmélodies, for ensemble and tape (1982)
Philippe Manoury: Jupiter for flute and live electronics
Philippe Manoury: Pluton for piano and live electronics
Philippe Manoury: En Echo for soprano voice and live electronics
Yan Maresz: Sul Segno, for harp, guitar, cymbalon, contrabass and electronic equipment (2004)
Tristan Murail: L'Esprit des dunes, for chamber ensemble (1993–1994)
Emmanuel Nunes: Lichtung I (1988/1991)
Emmanuel Nunes: Lichtung II, for chamber ensemble and electronics (1996)
Michael Obst: Kristallwelt, for Ensemble and Electronics (1983)
Robert H.P. Platz: Pièce noire, for thirteen musicians and tape (1990)
Henri Pousseur: Liège à Paris (1977)
Horațiu Rădulescu: Incandescent Serene, for contrabass and tape (1982)
Roger Reynolds: The Angel of Death, for solo piano, chamber orchestra, and six-channel computer-processed sound (2001)
Roger Reynolds: Archipelago, for orchestra and magnetic tape (1983)
Terry Riley: Salome Dances for Peace, for string quartet (1986)
Jean-Claude Risset: Inharmonique, for soprano and tape (1977)
Jean-Claude Risset: Mirages, for six musicians and tape (1978)
Jean-Claude Risset: Songes (1979)
Manuel Rocha Iturbide: Transiciones de Fase, for brass quartet and electronics (1994)
Frederic Rzewski: Instrumental Studies (1977)
Kaija Saariaho: Lonh, for soprano and electronics (1995–96)
Kaija Saariaho: NoaNoa, for flute and electronics (1992)[16]
Karlheinz Stockhausen: Kathinkas Gesang als Luzifers Requiem, version for flute and 6-channel tape (1985)
Marco Stroppa: In cielo, in terra, in mare, radiophonic opera on texts by Adolfo Moriconi (1992)
Jukka Tiensuu: Nemo for ensemble (1992)
Alejandro Viñao: Epitafios, for mixed choir and electronics (1999)
David Wessel: Antony (1977)
David Wessel: Contacts Turbulents, for saxophone and electronics (1986)
Trevor Wishart: VOX-5, an electroacoustic piece based around extended vocal techniques (1986)
James Wood: Mountain Language, for alphorn, cow bells, MIDI keyboard and electronics (1998)
Iannis Xenakis: Psappha, electronic version (1976/1996)
Frank Zappa: Perfect Stranger (1984)
Hans Zender: Lo Shu III, for flute and twenty-four instrumentalists (1979)
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Les Espaces Acoustiques
Gérard Grisey Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Кирилл Смирнов
Sometimes I wonder why contemporary composers still use classical instruments but after listening to this I understand there's a lot to explore
Null
because good acoustic instruments are irreplaceable
Soporte Técnico Higoverso más Música
@Null i'd say all acoustic instruments are irreplaceable! each one has tons of unique sound possibilities!
Simone Santi Gubini
Because they are acoustic, not classical.
Aleksi Uturgaidze
The problem is with the overtones, room acoustics and dynamic range that a digital instrument can't provide. Also I personaly want my compositions to be a subject of human interpretation but not an algorithm interpretated by a computer. Also the digital siganal is quite lossy and can't be compared to orcheatra. Both acoustic and digital instruments are good in it's own way.
singh singa
That's exactly the thing, contemporary composers look for new way to use these centuries old instruments to create new sounds. Sometimes, like here, the result is sublime!
Dave Phillips
Deserves 100x the number of views it has now. Grisey was such a fine composer, this kind of performance does justice to the man and his music. The Ensemble continues to amaze and astonish. Deep thanks for this recording !
Piotr Grzymski
Just watched and listened to it live tonite at Warszawska Jesień. An absolutely fabulous piece of music
Matt Abrey
Absolutely beautiful. Thank you so much Ensemble Intercontemporain. One of the most visceral & gorgeous pieces ever written, done brilliantly, complete with tracing-paper score pages at the end. I wish I had been there.
Ensemble Intercontemporain
Thanks !