Name: Wayfarer, for orchestra by Tomàs Peire
Duration: 17 min 44 s
Description: Commissioned and premiered by the American Composers Orchestra. Carnegie Hall, March 6th 2025.

Pièce pour piano solo

Interprète : Mireille Santerre

Les adieux d'un musicien - Mouvement I

Live recording from the premiere 28.08.2021 in Grieghallen, Bergen. 
BIT20 Ensemble and conductor Christian Karlsen.

Swiveling in a Flexible Unison (2021)

Premièred in Auditori Barcelona by BCN216 on 4th June 2013.
Francesc Prat, conductor.

Quale-color, for ensemble (2013)

"Hyle. Les géants de Vico"
Binaural excerpts of the premiere of Cursus 2 piece (Ircam) by Diotima String Quartet in Royaumont.

Ircam Computer Music Design Núria Giménez-Comas
Ircam Pedagogical advisor Gregoire Lorieux and spatialisation advises of Markus Noisternig
Ircam Sound Engineer Melina Avenati

Analyse and recreation of these scenes in the instrumental writing, dealing with the concept of time and space in the context of musical speech. In the electronic part working with resynthesis of complex sounds and recorded noises and the spatialisation of textures and scapes in a 3D space.
I have used some synthesized sounds from the SPAD application of Charles Verron.

"En grec, Hyle (prononcer hilé) signifie d’abord « forêt » et, par extension, désigne le concept de matière. C’est dans la forêt que Nuria Gimenez Comas est ici allée chercher à la fois son imaginaire sonore et son inspiration — notamment dans la pensée de Giambattista Vico (1668-1744), historien et philosophe italien. Jouant sur l’opposition entre la forêt et la cité, l’un remettant l’autre en question, Vico met en regard intuition poétique et philosophie abstraite, sensorialité et fait politique. De tous ces concepts et images, la compositrice tire un essai musical sur l’imaginaire occidental. Dessinant diverses « scènes sonores », la partie électronique lui permet d’explorer la dualité entre son concret et son instrumental, à l’aide notamment du processus de resynthèse (analyse et restitution du son en temps réel)."
(Jérémie Szpirglas)

Hyle - Diotima. Binaural excerpts (only headphones!)

Commissioned and premiered by the American Composers Orchestra. Carnegie Hall, March 6th 2025.

Wayfarer, for orchestra

Acupuntura

Compositor: Lucas Peire
Premiered in l'Auditori de Barcelona per l'ensemble Barcelona 216, Maig 2012.

Drone (for ensemble of 12 musicians)

According to Carl Jung, archetypes are primordial ideas and conceptions that universally exist in the minds of all humans without regard to culture or education.

For example, Jung noted that all ancient cultures had a creation story. The stories themselves were vastly different but the existence of each of these stories hints at the fact that the idea of a creator was and is universal in every culture. In the case of this example the creator is the archetypal idea, and the creation story itself is a resulting manifestation of the archetype.

I found the notion of archetypes fascinating, and began to wonder whether music itself holds any archetypal ideas. The role of music is paramount in most, if not all, cultures and manifests in everything from the solemnity of worship to the most visceral celebration. As we know, the breadth of what music is can be vast, and this begs the question: which elements of music are archetypal and which are cultural? Can we find any primordial elements of music that are ubiquitous to all humans regardless of their musical or cultural background? 

I started writing this piece by writing its “archetype,” a musical idea from which all the materials of the piece will derive; in other words, I wrote a theme. Traditionally a piece starts by presenting a theme that later goes through various kinds of alterations and manipulations, but in the case of this piece, the theme (or archetype) is not presented in the beginning. The piece uses the archetype as the generator of the musical materials but at the same time the archetype (theme) is not introduced.

The piece is made up of six parts, five parts being different manifestations of the archetype, and the last part being the archetype itself. In each one of the five manifestations, only a certain aspect of the archetype seeps through to the notes and we only get a glimpse of the archetype; we only see its shadow. In the final and sixth part of the piece we finally get to listen to the archetype as it is. Would it sound familiar? Would it sound as if it was there throughout the entire piece?​
​


Seltenreich - ARCHETYPE - Tokyo Philharmonic

Fragments d'Ausiàs March (2016)
for five male voices and ensemble

[excerpt from the 4th movement, mm. 245/285]

Solistes XXI (Rachid Safir)
Ensemble Intercontemporain 
Matthias Pintscher

Live recording (January 21, 2017: Cité de la Musique-Philharmonie 2, salle de concerts, Paris)

Fragments d'Ausiàs March (2016) [SAMPLE, 4th mov.]

Tomàs Peire Serrate is and LA based composer. Born in Barcelona, his music has been performed in Europe, Asia, and the US.

Wayfarer, for orchestra

Tomàs Peire

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