A sonic adventure - fantastic piece, great realization.

Ensemble

premiered by Orchestre des lauréats du Conservatoire at Cnsmdp, Salle Rémy-Pflimlin, September 27, 2024.

Simon Proust, conductor

Flute/Piccolo, Victoria Creighton
Alto Flute, Cécile Bertrand
Oboe, Gabriel Chauveau
Clarinet in Bb, António Lopes
Bass Clarinet in Bb, Takahiro Katayama
Bassoon, Robin Aubertin

Horn, Loïc Denis
Trumpet, Victor Meignal
Trombone, Robinson Julien-Laferrière

Percussion I, Quentin Broyart
Percussion II, Pierre Tomassi

Piano, Tomoki Akiyama
Accordion, Bastien Pouillès

Violin I, David Forest
Violin II, Hanna Yakavenka
Viola, Sengyun Kim
Violoncello, Romane Bestautte
Contrabass, Corentin Jadé



Then in the Abyss, a Deep Rumble Was Heard

Notes de programme

À vif explore un territoire fragile, où la chair, tantôt effleurée, tantôt agressée, s’expose dans toute sa tension, oscillant entre dissolution et brutalité. Cet équilibre entre deux extrêmes trouve un écho dans l’héritage du quatuor La Jeune Fille et la Mort de Schubert. Ses empreintes, décomposées et filtrées par la mémoire, ne cherchent pas à se manifester comme des citations explicites, mais plutôt comme des ombres suspendues, déposées sur chaque élément de l’œuvre, à la manière d’une fine couche de poussière accumulée par le passage du temps sur les meubles d’une chambre close.

L’atmosphère d’À vif est celle d’un seuil : un espace où la mémoire et l’oubli coexistent, où le sang et le souffle dialoguent. Les molécules sonores s’y dispersent, éphémères, créant des espaces qui se forment et se délitent aussitôt, comme si elles tentaient, au hasard d’une combinatoire, une genèse de la chair. Au cœur de cette œuvre, une lutte incessante oppose le matériel à l’immatériel, le corps au vide. Chaque son, chaque geste hésite entre la solidité et la dissolution, coexistants dans une fragilité apparente, mais traversés par des forces intérieures irrépressibles. Cet équilibre instable, tendu à l’extrême, se densifie peu à peu, jusqu’à éclater dans une décharge explosive où le corps et le son se heurtent dans une collision brutale. La violence surgit alors comme un cri, un choc où la frontière entre la chair et le souffle s’efface, révélant l’énergie contenue qui sature l’espace sonore.

Cette pièce ne raconte pas, elle observe. Elle scrute la tension entre ce qui résiste et ce qui cède, entre ce qui se construit et ce qui se dissout. Un espace sonore où le passé se dépose en silence sur le présent, et où l’air devient le seul témoin de cette douce effraction, jusqu’à ce que la matière reprenne soudainement son droit, dans un cri à vif où la chair redevient présence, puissante et irréductible.

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Enregistrement du concert de restitution de l'Académie, organisé par le quatuor Diotima à l'Arsénal de Metz le 14 février 2025, œuvre interprétée par les musiciens de l'ensemble Concrète:
– Anna Brown
– Leon Human
– Dominic Stokes
– Joseph Barker

À VIF - Quatuor à cordes N°1 (2025)

Free improvisation recorded at Studio d'Essai at CNSMD de Lyon, France.

Accordion, Bastien Pouillès
Modular Synth, Matheus Souza

Mastering, Michele Tadini

[2025] Free Improvisation: Modular Synth and Accordion

Produced by the Tête à Tête Opera Company and the Royal College of Music

The Drifterman, A Horror Opera

Conservatorio della Svizzera italiana
Hochschule Luzern - Musik

Cond. Giuseppe Prete
Alessandro Bennardo, Flöte; Carlo Mistretta, Oboe
Hon Ning Cheung, Chromatische Harmonika
Guilherme Pereira Oliveira, Klarinette; Chorche Manso Tomey, Fagott
Michelangelo Lotito, Horn
Niccolò Gaudenzi, Trompete; Nicolò Bombelli , Posaune
Koichi Kameo, Alba Alegre, Perkussion
Berenike Brusis, Klavier
Virginia Vignera, Harfe
Aurora Ritorto , Matilde Sotgiu, Violine
Marko Thanasi, VIola; Sylvain Debray, Violoncello
Alessandro Pizzimento, Kontrabass

Inertia (2025) for chamber orchestra

for eleven musicians and electronics

Ensemble Next
Dir.: Flavien Boy

Federico Altare, flûte
Youjin Jung, clarinette
Simon Munch, saxophone
Alessandro Rinaudo, percussions
Pierre Venissac, piano
Bastien Pouillès, accordéon
Youngseo Kim, violon 1
Karen Nonomura, violon 2
Nadine Oussaad, alto 
Yi Zhou, violoncelle
Jules Bauer De Milleret, contrebasse


21.03.2025 - Conservatoire National Supérieur de Musique et de Danse de Paris

zerre | Ensemble NEXT (2025)

Pillars of Creation, for ensemble (2024)

Solists of ensemble intercontemporain and ensemble NEXT
Kyrian Friedenberg, conductor
Concert of 22.01.2025

"Pillars of Creation" embarks on a profound sonic expedition, delving into themes of evolution and transformation. The composition begins with bold and arresting sound blocks, reminiscent of alarming screams, gradually evolving into ethereal textures characterized by winds and strings, punctuated by escalating bursts. As the piece progresses, a somber pulsation emerges, leading to a climactic eruption of percussion. Emerging from this rumble is a solitary piano harmonic note, initiating a tranquil choral of instrument multiphonics. However, as the piece draws to a close, the initial sound blocks return, though now transformed by the journey they have undertaken, bearing the echoes of all that has come before, ultimately concluding with a piercing scream-like sound. Through its dynamic narrative arc, "Pillars of Creation" invites listeners to contemplate the intricate interplay between turmoil and serenity, darkness and light, leaving an indelible impression of metamorphosis.

Pillars of Creation

"from dust" is a first concert-long live set, made in collab with Pirahã, a new band based in Belgium. 

Commissioned by Centre Henri Pousseur (BE)

Recording from live performance on April 19th, 2025 @LE MOM, Liège, Belgium 

violin - Flora Campbell-Tiech 
cello - Ian-Elfinn Rosiu 
live electronics - Nicolas Roulive 

Sound engineer - Patrick Delges (Centre Henri Pousseur)

from dust

This piece was made as the first miniProject during my cursus in IRCAM 2025

BADTRIP_ADVISOR_#2 for electronics

Whispers of Entropy is an exploration of perpetual sonic flux, drawing an analogy between musical tension and the thermodynamic concept of entropy. Much like the atmospheric phenomenon where heated air ascends, cools, and subsequently descends in a continuous cycle, the composition traverses an ever-evolving landscape of sonic energy. The work embodies a state of dynamic instability, where entropy becomes a metaphor for the transformation and dissipation of sonic material. Through the interplay of piano, violin, and cello, the music navigates a spectrum of tension and release, embodying an ‘entropy of sound.   Despite the marked transitions between varying states of energy, the structure of the work remains unified and homogenous, echoing the seamless, interconnected flow of air currents. These transitions, rather than fragmenting the piece, serve to enhance its organic coherence, immersing the listener in an unbroken, cyclical experience of emergence and dissolution.

Whispers of Entropy

Frammento [94] - (2025) - for flute and double bass
Curva Minore

Alessandro Lo Giudice (flute)
Pietro Elia Barcellona (double bass)

Live recording on June 7, 2025 - Curva Minore archives
Sound engineer: Simone Sfameli
Sala Michele Perriera - Cantieri Culturali alla Zisa, Palermo




A fragment of farewell.
A voice suspended between presence and absence, between memory and disappearance. Like a turning point, the piece moves through a state of transition, where something comes to an end, and something else begins, uncertainly. Flute and double bass chase each other, touch, and imitate one another. Two distant registers searching for common ground, as if the sound could strive toward a single breath.
A dialogue of distances that stretch and contract, in a fragile but ever-moving balance.

Frammento [94] - (2025) - for flute and double bass

1. Fence
2. Dear
3. Limbs
4. Scull
5. Hear

poems by Susan Howe 

Clara Barbier Serrano – soprano

Ictus Ensemble: 
Tom Pauwels – e-guit
Jean-Luc Plouvier – keys
Andrés Ruiz González – trumpet

rec: France Musique 
broadcast & portrait: https://www.radiofrance.fr/francemusique/podcasts/creation-mondiale-l-integrale/own-de-brendan-champeaux-diffusion-integrale-4299829

Own (2025) | Ictus Ensemble

accordionist // composer // improviser // multidisciplinary artist

Then in the Abyss, a Deep Rumble Was Heard

Emre Eröz

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