« Kanawa »（鉄輪）for utai and string quartet (2023)

•Commission by Ensemble-no

•Performance by Ryoko Aoki, Tatsuki Narita, Ryosuke Suho, Kei Tojo and Ayano Kamimura

•Live recording in "Contemporary  Music × Noh Vol.10" 30/11/2023 at Tokyo Bunka Kaikan Small Hall in Tokyo, Japan

•View and buy the score
Coming soon on Naoki Sakata's online shop!

©︎Naoki Sakata

« Kanawa » for utai and string quartet (2023)

Portrait du compositeur Maxime Mantovani à l'occasion de sa venue à Tours le 30 novembre 2024.
Diffusion en intégralité du concert donné par l'ensemble PTYX avec en invitée Louise Bouedo, violiste

Playlist
- Ghérasim Luca, « Quart d’heure de culture métaphysique »
- Maxime Mantovani, Ruptures et Iridescences, pièce électroacoustique
- Eric Fischer, Topographic Long-Range – I. Rock, pour deux basses de viole
- John Coltrane, « Giant Steps »
- Maxime Mantovani, Stépologie pour deux basses de viole et électronique en temps réel
- Pierre Henry, Prisme (extrait)
- Gherasim Luca, « Ma déraison d’être »
- Maxime Mantovani, Au regard de Prisme pour ensemble
- Philippe Hersant, Pascolas pour viole de gambe

ensemble PTYX
Marie Perrin, mezzo-soprano
Pauline Vanagt, flûtes
Alice Diéval, claviers
Étienne Brousse, guitare
Pierre Malle, violon
Benjamin Garnier, violoncelle, basse de viole
Samuel Bollen, contrebasse
Jean-Baptiste Apéré, acousmatique, direction

Invité·e
Maxime Mantovani, composition, électroacoustique
Louise Bouedo, basse de viole

Détails, photos, vidéos et autres prolongements sur la page https://www.ensembleptyx.com/mmm/

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Émission radiophonique sur les musiques contemporaines proposée par l'ensemble PTYX. Présentation : Jean-Baptiste Apéré
Réalisation, production, sans concession : ptyx fan club / vnrpe (c) 2025
Avec le soutien du Conseil départemental d'Indre-et-Loire, de la SACEM et de la Maison de la Musique Contemporaine

novembre 2024 (#62) - mmm avec Maxime MANTOVANI

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

for Bb clarinet & piano (no electronics)

Lauriane Maudry, clar.
Bastien Dollinger, pno. 

rec & mix: Rémi Le Taillandier

much better with headphones or good loudspeakers

Only step (2022-25) | Clarinet & piano

Performed at Auditorium Parco della musica Ennio Morricone, Rome.

Abissus II is not just the absence of light but a dense, living, pulsating matter. It arises from the need to transform silence into an inner sound and sonic material into memory. The “roots” are reminiscences, echoes that reveal an irreducible will to live, hidden beneath layers of darkness and disintegration. It is a journey of emergence where the abyss constitutes a necessary origin, in which listening can become an act of discovery and, above all, resistance.


Pasquale Corrado
Conductor 
ENSEMBLE NOVECENTO

Filippo Bogdanovic
Violin I

Maria Serena Salvemini
Violin II

Maria Taglioni
Viola

Arianna Di Martino
Cello

Lorenzo Commisso
Flute

Eugenio Emanuele
Clarinet / Bass Clarinet

Michele Allevato
Bassoon

Simone Zanobi
Trumpet

Biagio Gino Grillo
Percussion

Andrea De Marchi
Percussion

William Belpassi
Piano

ABISSUS II (racines)

MATTEO GUALANDI (Italie, 1995)
Livre d'heures (pour un oiseau) 2024
pour soprano, flûte, clarinette, piano, percussion, violon, alto et violoncelle
commande de L'Instant Donné
avec l'Aide à la composition musicale du Ministère de la Culture
durée 55 minutes

avec Amandine Trenc, soprano
et les musiciennes et musiciens de L'Instant Donné

enregistrement live : opéra de Marseille / GMEM  le 23 mars 2025 dans le cadre des Modulations du GMEM - Centre National de Création Musicale de Marseille

Gualandi | Livre d'heures (pour un oiseau) live opéra de Marseille

ALL ANSWERS FORBIDDEN – The Haunting of a Shattered Self (2025)
for soprano, Totem of loudspeakers, large ensemble and electronics

Bengisu Önder — composition and electronics
Natalia Laguens — text material
Orchestre des lauréats du Conservatoire
Simon Proust — conductor
Clémence Martel — soprano  

Arnau Gran i Ramero — technical support
Sébastien Tondo — sound engineer
Jean-Christophe Messonnier — mixing

Salle Rémy-Pflimlin, CNSMD Paris

Program Notes
I have always had a deep interest in psychology and the complexity of the human mind, and the starting point of this piece was my wish to explore existential questions. It feels very human to wonder: why are we here, what is our purpose, what does it all mean? And today, with everything around us, it often feels more difficult to take the time to connect deeply with ourselves.

The piece explores these existential themes from both a personal and philosophical perspective: the inner conflicts of an individual, the fragility of identity, and the shifting nature of the self in a world mediated by technology. It questions our era: is technology becoming more human, while human beings—haunted by emotional overload, a production-oriented lifestyle, and personal loss—are turning increasingly mechanical, disconnected from their deeper essence?

The music becomes a space where these tensions unfold: between presence and absence, impulse and reflection, expression and erasure, hope and despair.

To embody this, the piece features two soloists—the soprano and her alter ego, the Totem (a column of loudspeakers)—representing two facets of the same person. The soprano begins in a dark place: expressive, impulsive, emotionally raw, but her gestures gradually become more fragmented, restrained, even mechanical. In contrast, the Totem begins as an artificial, fragile voice—hesitant and distant—but gradually gains warmth, lyricism, and emotional presence, becoming the voice of hope. This creates an unexpected reversal of roles: the human voice falls into despair, while the machine longs to be human, searching for emotion and meaning. Often opposed, they sometimes mirror each other—two desynchronized reflections, briefly aligned in unsettling moments.

The subtitle, The Haunting of a Shattered Self, refers to this fragmentation of the self—the inner conflict of a person torn between despair and the will to exist. These existential questions are the reason behind the title All Answers Forbidden: it expresses the absurdity of waiting for clear answers to questions for which there are none. Yet the act of questioning remains essential— a profoundly human gesture.

Bengisu Önder

Devaux_OpenCalls

Sylvain Devaux