Csound

Autour, pour piano (2019)
Jean-Frédéric Neuburger, piano
Radio France avril 2022

Philippe HUREL Autour

Troisième Heure - SB - 042023

Made using the Chowning FM instrument in Csound.

Cgeil (2001)

Il Mirto e la Rosa

Grain | Stream
for 2 pianists and 2 percussionists & electronics

Première:
October 22nd, 2023 - Donaueschinger Musiktage 

Performers:
Yarn/Wire
Russell Greenberg, Sae Hashimoto (Percussion)
Laura Barger, Julia Den Boer (Klavier)

The idea of stream recalled in the title and central in the piece has been inspired by Anselm Kiefer’s painting Alchemie consists of two canvases showing a dry desert-like landscape connected by a balance. A rainfall of salt and sunflower seeds falling down from the balance’s dishes. 
That’s a strong symbol of a possible new life re-growing from the desert landscape which is directly connected with the art of alchemy transforming lead into gold.


On the other hand streams of grains (especially salt) are traditionally associated with purification rituals of mind and spirit.
Driven by the strong symbolic meaning of this canvas and the message of hope that it conveys to me, I imagined a sound-world made of grains and streams which arise from silence and saturate space and time until leading the perception to an in-between dimension where temporal references are loosen.

Grain I Stream

Alto : Christophe Desjardins

Commande Festival Musica, 2014

Tesla ou l'effet d'étrangeté (version alto solo/électronique)(2014)

Invisible Ocean

2024.08.19 Chingyun Choir @National Concert Hall, Taipei, Taiwan
Conductor: Cheng-Pu Chang

【詩經．邶風．柏舟】
汎彼柏舟，亦汎其流。耿耿不寐，如有隱憂。微我無酒，以敖以遊。
我心匪鑒，不可以茹。亦有兄弟，不可以據。薄言往愬，逢彼之怒。
我心匪石，不可轉也。我心匪席，不可卷也。威儀棣棣，不可選也。
憂心悄悄，慍於群小。覯閔既多，受侮不少。靜言思之，寤辟有摽。
日居月諸，胡迭而微？心之憂矣，如匪澣衣。靜言思之，不能奮飛。

Meandering on a Cypress Boat (2024) for 8-part a capella mixed chorus

Chamber orchestra InnStrumenti
conductor: Gerhard Sammer
Duration: 15'00"

Die beiden Sätze dieser Komposition sind Reaktionen auf meine Konfrontation mit dem Tod und Versuche, mich abzureagieren bzw. freizuschreiben.

Vor einigen Jahren war es der endgültige Abschied meines Freundes und Komponistenkollegen Haimo Wisser, der mich sehr aufgerüttelt hat; ihm ist der 2. langsame Satz gewidmet. Das einleitende Stück spiegelt meine Gefühlslage während der letzten Lebensphase meines Vaters wider.

Ich habe diese Zeit als eine mit extremen Gegensätzen erlebt: hell—dunkel, schrill–leise, schmerzhaft–friedvoll, pulsierend–Zeitlupe. Diese Zustände und die damit verbundenen Gemütsschwankungen sind in Form von starken Kontrasten und Antithesen in die Musik eingeflossen.

Press:
22 November 2004

Adieu for Small Orchestra: Martin Lichtfuss wanted to have his 15-minute piece "Adieu for Small Orchestra" seen as an attempt to rid himself of some irksome emotional experiences. The introverted composer's attempt could not have been more lasting. This act of releasing himself was achieved by the use of massive sounds and intimate tenderness, as well as sensual passion and impulsive gestures. Shifting between tonal and atonal, the interplay of sound explosions and brief moments of relaxation, Lichtfuss tilts the mood unexpectedly – just as in real life – suggesting clear, emotional gleams of hope that we can never be sure of reaching.

Tiroler Tageszeitung (Markus Hauser)

Adieu   for small orchestra [ 2004 ] - 1. Satz

Fm Test

I composed this piece algorithmically using a recurrent iterated function system operating on notes, times, instrument assignments, and chords.

I rendered the piece entirely in Csound using a variety of instruments by me, and by other people and adapted by me. The instruments are all direct synthesis, there is no sampling or processing of recorded sound.

The entire piece, including the Csound orchestra, is a C++ program.

Blue Leaves 4e

Slow unfolding of a 12-tone row in four permutations: forward, backward-inverse, forward-inverse, backward. (Symmetry ahoy!)

unFold

extrait live: vimeo.com/302594323
Matthieu Guillin : composition, électronique
Loïc Varanguien de Villepin : performance vocale

enregistré au studio eOle
photo © Solène Arbel
Design graphique : Nicolas Maureau

https://lacopule.bandcamp.com/

La Copule - mouvement 1

Piano/Electronics: Chen-Hui Jen

	Still in the days of my aging, I shall do so for you –
	play the piano, see you to the ship bound for
		Byzantium
	with music close to fading. Silence
	here is beyond all summits
-	Yang Mu "Propositions of Temporality"
English translation by Wen-chi Li and Colin Bramwell

The piece's title evokes Yang Mu's poem "Propositions of Temporality."  After I wrote into silence, and keep falling four years ago, this composition is another work where I seek a state of silence.  Specifically, I drew a particular interest and made an intimate connection to the concept of "silence" in the poem – the ultimate moment after all the waves of a lifetime.  I have been repeatedly thinking about this idea in the last few years to make up a specific part of myself from the past – to awaken and hear those inner voices.  To realize this goal, I created a musical texture full of many symbols such as ocean waves, distant bells, and fading traces on the water, to aurally send myself to both an initial and the final state of silence.

老去的日子裡我還為你寧馨
彈琴，送你航向拜占庭
在將盡未盡的地方中斷，靜
這裡是一切的峰頂
			─ 楊牧《時光命題》


此曲標題取自楊牧《時光命題》一詩，亦為我在繼四年前寫作的《恆墜之寂》後、另一首探討「寂靜」的作品。我特別喜愛詩中終極的「靜」的意象，在經歷人生風浪之後、凝結的那一瞬間。對我而言，這些年我總在思索，跟過去的、內在的某部分的自己和解，喚醒便聽見那些記憶深處的聲音。因此我在全曲音樂織體中大量使用如海浪、遠處的鐘、消逝的航線等象徵，企圖將自己在聽覺上送回那最初、也是最終的寂靜狀態。

Onto the Silent Peaks (2020) for piano and electronics

La Copule - mouvement 4

I am a classically trained french composer of screen and concert music and sound designer. My scores cover a range of genres from orchestral or chamber music to electronic and popular styles.

boussuge@opusmodus.com


In my spare time I have fun creating some electronic music …

Troisième Heure - SB - 042023

stephaneboussuge

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