Juin 2013.

Si ma pièce était vivante, elle parlerait ainsi : 
" Si j'étais une saison, je serais l'automne, 
J'aurais de longs cheveux bouclés et sous mes pieds, il y aurait un nuage d'oignons que le seul souvenir de ma grand-mère ferait danser.
Je goûterais la mélancolie avec passion et envie, 
Je jouerais à la couture pour m'habiller de fils et de noeuds qu'il serait impossible d'emmêler,
Et puis, je m'oublierais moi-même pour enfin... dormir… "
--

ENG : If my piece was alive, it would speak as follows:
"If I were a season, I'd be autumn,
I'd have long curly hair and under my feet, there would be a cloud of onions that would dance only on the memory of my grandmother.
I would taste the melancholy with passion and desire,
I'd play sewing to be dressed with threads and knots, so that it would be impossible untangle them,
And then I'd forget myself to finally ... sleep ... "

De fil en aiguille

Installation sonore octophonique - - réduction stéréo. 
Cette pièce a été présentée dans le cadre de l'exposition Voyez-Vous, à Colombelles (FR) - 2012

Sound installation (8 channels)  - - stereo reduction - - 66 minutes
This piece was presented during the exhibition Voyez-Vous, at Colombelles (FR) in 2012

Avec la participation de / With :  M. Boisseau, M. et Mme Groult, Mme Le Net, M. Morel, M. Prokop, Mme Quideau, M. Vromet, et le personnel de la Médiathèque de Colombelles.


La SMN, née il y a peu, elle respire encore aujourd'hui...

Program Notes in ENG : 

- Who are you ?
- You appeared to me in a place that doesn't exist,
- Were you real ?
- You've never seen me and I I've never seen you
- How did I manage to talk to you ? 
- I don't know...
- Give me a clue !
- I only remember...
- Open the door ! Open the door ! I want to smell, to touch, to feel, to caress her... 
- Why ? You might regret it ! Many others were like you, burning with desire... But ultimately all of them gave up and turned away from her.  
- No, I won't..
- It's too late anyway. Long gone are the days of lightness, love and happiness. Today no one knows, no one wants to remember... where she is gone
- Why ?
- Hope disappeared a long time ago. Since that time, looking for Freedom, looking for that lady is meaningless. Without hope, be free has no sense anymore. 




Liberté Chérie

Nuage Noir, 11” 49’.

FR (ENG below) :
Cette pièce puise dans l'histoire passée pour tendre vers l'avenir, 
Un futur incertain, que l'on espère beau, merveilleux, 
Mais qui au regard du présent, peut nous paraître bien sombre
Nuage Noir fait référence à la peur, à l'inquiétude, à la quête effrénée de repères dans un monde en déshérence.
Cependant, l'espoir est là et le présent peut nous surprendre à chaque instant....
Pour cette pièce, je me suis inspirée de la Route de la Soie, jadis un lien entre l'Asie et l'Europe, son commerce, ses guerres, ses horreurs et ses beautés…

Cette pièce a été composée avec le soutien de la Fédération Wallonie-Bruxelles, Administration générale de la culture, Service de la musique.
ENG :
This piece draws on past history to move towards the future,
An uncertain future, that one hopes beautiful, wonderful,
But in the eyes of the present, it could appear dark, bleak.
« Nuage Noir » means, «  Dark Cloud » refers to the fear, the anxiety, the frantic quest of points of reference in a world escheat.
However, hope is still there and whenever the present can surprise us...
To compose this piece, I was inspired by the Silk Road (once a link between Asia and Europe), by its trade, its wars, its horrors and its beauties ...

This piece was composed by the help of the Fédération Wallonie-Bruxelles, Administration générale de la Culture, Service de la Musique.

Nuage Noir

Nyx (Νύξ) 
10min 34s – acousmatic music – stereo - 2015
ENG :
This piece is an epic poem. It is a journey through the night, black, dense and mysterious, that ends with the appearance of dawn. It is inspired by the Nyx, Goddess of night of the Greek mythology. The Theogony of Hesiod describes Nyx, daughter of Chaos, as one of the first-born element gods. The myth says that each day at twilight, she leaves the hells to travel in the sky and deposit a veil of dark mist drawn forth from the underworld, which blotted out the light of Aither (shining upper atmosphere) until dawn comes. 
This piece is composed of transparency, slow transformations and strong contrasts in term of sound morphology. Nyx can be perceived as a cubist work, describing an object through different perspectives. This piece also dramatic, expressing the despair of living in a world that refuses to show its reality. I dedicate this piece to those who believe in the impossible… 

Thanks to the performers Audrey Riley, Rick Nance, Brona Martin, Evi Manola and Dimitris Savva for their contribution in this project.

FR : 
Cette piece est un poème, un voyage à travers la nuit, noire, dense qui s’achève à l’aube. Elle s’inspire de la déesse Nyx, incarnation de la nuit dans la mythologie grecque. Le mythe raconte que chaque jour au crépuscule Nyx quitte les enfers pour parcourir le ciel et déposer un voile obscur sur le monde. Nyx se compose de lentes transformations, de transparence et de forts contrastes morphologiques. Cette pièce peut être perçue comme une œuvre cubiste décrivant un objet sous différentes perspectives. 


Nyx - Exerpt

Duration : 10min 12s – acousmatic music – binaural reduction of the 16 channels   version - 2016
 
Uni-vers(e) is an acousmatic piece that immerses the listener in an ambivalent world, between fragility and determination. The form of the piece illustrates the start and the evolution of a relationship between two individuals, a mix of joy and torment. The concepts of duality and contrast are omnipresent within Uni-vers(e). This can be observed spectrally with the heaviness of the percussions and the lightness of the grains. One can also perceive a morphological duality regarding the excitement of the iterations and the fluidity of the harmonic profils. The spatial composition opposes large spatial trajectories to the inertia of various sounds.
 Uni-vers(e) is part of my thesis’ s portfolio which questions the relationships between visual composition and acousmatic composition. 
This piece is a stereo version of a piece composed for a dome of speakers. It has been composed during a residency in the studios of the Université de Montréal (CA), composed in response to an invitation from Robert Normandeau. The piece has been completed at Music Technology and Innovation Centre based in De Montfort University, Leicester (UK). 

I thank Robert Normandeau for his welcome, support and listening. I also thank the staff of the department Musiques Numériques and Monique Jean, Pauline Tranchant, Christophe Lengelé, Vincent Monastesse, Vincent Berthiaume, Kévin Gironnay for their presence and their friendly welcome.

Uni-vers(e)- excerpt -binaural

Duration : 10min 21s – acousmatic music – binaural reduction of a 16 channels piece - 2017
 
An Ocean on the moon is an acousmatic piece that explores the maritime theme through the evolution of a soft yet shiny, joyful and destructive instrumental netting texture. 
A particular emphasis is placed on the diversity of sensations that may overwhelm a viewer in front of the sea, between memories of joyful moments, lonely wander and sudden fear. This piece is an evocation of visual and kinetic experiences of the sea. 
Through this project, I have studied the rich expressivity of the instrumental gesture, sometimes methodical, sometimes impulsive. I have also explored the composer’s gesture which at each stage of the creative process works on the fludity of the drawn gesture, curved, voluptuous, and sometimes extrem. This project results from a collaboration with several instrumentalists who performed musical sequences based on visual images and video clips, and with Alex Retsis, a composer who processed some of those instrumental performances.
This piece has been partly composed at the Ionian University, located in Corfu, Greece and has been completed at the Music Technology and Innovation Centre, at De Montfort University, located in Leicester, United Kingdom. I thank very much Theodoros Lotis for his warm welcome at the Ionian University, for his listening and support during the accomplishment of this project. I also thank Andreas Mniestris, Dionissis Batjakis for their help, and I thank the beautiful people and talented musicians who participate to this project : Alex Retsis, Elesa Papakosta-Smyri, Giorgos Stavridis, Rrezarta Krougia, Sevastianos Motorinos, Niki Kokkoli, Ektoras Remsak, Nafsika Karagianaki, Stelios Michas-Eglezos and Sofia Ketentzian.

An Ocean on the moon- excerpt - binaural

Obnubilé, 2011

Personne ne doit voir,
Personne ne doit savoir,
Tapie dans un coin, la réalité attend,
Le temps passe et les idées fusent,
Tout  s’écrit et se délie,
Un souffle, une  envie,
Partir, 
Partir très loin, et ne plus revenir…


Obnubilé

Evocation impressionniste - étude préparatoire à la composition de l'ouvre sonore, LA SMN, née il y a peu, elle respire encore aujourd'hui, 2012

Mvt01-La Naissance

Point de rupture, 9 min 18s, 2011

Il n’y a rien, 
C’est comme une expérience, une vie
Cà prend forme, 
Cà respire, 
Des portes claquent,
Des chemins se traversent,
Et si tout cela n’était qu’un jeu, 
Pourquoi ?
La quête d’un rêve sans fin…

Pointderupture

The stones can speak - stereo - 2018

This piece has been composed with sounds recorded at the VICC (Visby International Centre for Composers) in 2017 and commissioned by Dante Tanzi to participate to the album  ''Awakenings": The 0bs/akousma/AUDIOR series is edited by Denis Shapovalov and Dante Tanzi (https://obsmusic2.bandcamp.com/album/awakenings). I am very grateful to Dante Tanzi and le Label Obs for this opportunity.  The piece refers to the legend of the Dame Blanche of Tonneville in Normandy. It is said that the ghost of a young woman dressed all white appears sometimes in the area of Tonneville to mislead travellers…

I also thank Sten Melin and Jesper Elen of the VICC for their warm welcome in Visby. 

“On Sundays, hidden by the shadow of the Moon,

''She perpetuates a ritual that never comes to an end…
Again and again… she wakes up without a body
And warn all creatures that time will come…
We wish soon, they respond
And she replies later,
But as time goes by, they are all gone…”

The Stones can speak

Installation sonore octophonique (66 minutes), 2012.
C'est en visitant le Plateau et l'ancienne friche de la SMN que j'ai été frappée par le vide laissé par l'usine. Cette relation ambivalente entre le plein de la mémoire et le néant de l'espace est le point d'accroche de cette pièce, entre la quasi absence de traces physiques sur l'ancien site de cette métallurgie (la SMN : Société Métallurgique de Normandie) et l'omniprésence de son souvenir. Ce souvenir ramène à une histoire ancienne qu'aujourd'hui, personne ne soupçonne. Cette installation sonore dont est issu cet extrait est une oeuvre où la parole laisse affleurer par magie une histoire qui ne se voit plus mais s'écoute. Le son aurait ce pouvoir de faire renaître par des témoignages uniques, la part devenue secrète et invisible de ce territoire.

Participation : M. Boisseau, M. et Mme Groult, Mme Le Net, M. Morel, M. Prokop, Mme Quideau, M. Vromet et le personnel de la Médiathèque de Colombelles (FR).

La SMN, née il y a peu, elle respire encore aujourd'hui - extrait

FR : Cette pièce, c'est un morceau de vie, un bout d'espoir, une envie d'ailleurs, un rêve...
J'évoque à travers cette pièce l'individu et son rapport au temps : entre force et fragilité.
Pour certains d'entre nous, le temps est une fatalité, une force hostile qui nous marque un peu plus chaque jour,
Il paraît même que c'est à cause du temps qui passe que nos idéaux et nos rêves les plus fous s'évanouissent, et se perdent dans l'oubli.
Tandis que pour d'autres personnes le temps est un élixir qu'ils boivent à pleine gorgée, 
Etant une source inépuisable de richesses, d'expériences, de sensations, d'émotions.
Enfin pour quelques uns, le temps est un ami qu'ils saluent chaque jour, les yeux pétillants d'impatience à l'idée de découvrir les surprises qu'il leur a concocté,

Néanmoins, une chose est sûre, le maîtriser reste impossible, et pourtant.. la tentation est grande.
Alors comment gérer ces instants où certaines choses, où nos vies peuvent subitement changer du tout au tout...
En réalité, il ne semble pas y avoir de recette, 
Mais juste une idée :  Ces instants décisifs seraient-ils l'occasion de faire revivre nos rêves oubliés et d'y croire ... encore...

Je dédie cette pièce à une rencontre surréaliste, surprenante mais aussi à toutes les autres à venir...

ENG : 
This piece is like a piece of life, a bit of hope, a desire of somewhere else, a dream...
Through this piece, I evoke the Human Being and his relationship with time, between strength and fragility.
For some of us, time means fate, it is a hostile force that marks us a little more each day
It even appears that this is due to the passing of time that our ideals and our wildest dreams vanish and are lost in oblivion.
While for others the time is like an elixir that they drink easily,
So time looks like  an inexhaustible source of wealth, experiences, sensations and emotions.
Finally, for some, time is a friend they greet each day, eyes sparkling with impatience at the idea of ÐÐdiscovering the surprises that time has concocted for them,

However, we are sure about one thing, the control of time is impossible, and yet .. it is tempting.
So how could we handle those moments when things, when our lives can suddenly change beyond recognition ...
In fact, there is no real recipe.
But there is just an idea : Could these decisive moments be the opportunities to revive our forgotten dreams and believe ... again ...

I dedicate this piece to a surreal  and surprising encounter, but all the others to come...

Et si...

Composer of Electroacoustic Music
Former researcher associated to the MTI (Music Technology and Innovation Centre)at  De Montfort University, Leicester (UK).
Her thesis : “Multiform visualisation : an approach to acousmatic music”.
 questions the transmodal relationship between visual triggers and music composition.
Currently lives and works in Bordeaux (FR) on artistic projects that combine electroacoustic music, instruments, visuals and culinary experience.
Her acousmatic pieces have been played accross Europe, America, in Australia and Japan.

virginie viel

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