{"id":246,"date":"2011-02-28T12:38:13","date_gmt":"2011-02-28T10:38:13","guid":{"rendered":"https:\/\/martinmatalon.com\/?p=246"},"modified":"2011-03-01T15:03:29","modified_gmt":"2011-03-01T13:03:29","slug":"traces-i","status":"publish","type":"post","link":"https:\/\/martinmatalon.com\/?p=246","title":{"rendered":"Traces I"},"content":{"rendered":"

(2004)<\/em><\/span><\/h1>\n

Pour violoncelle solo et dispositif \u00e9lectronique en temps r\u00e9el. Dur\u00e9e : ca 15 min. Commande : CIRM et le <Printemps des Arts>.<\/em><\/p>\n

Note (version fran\u00e7aise)<\/h2>\n

Traces I pour violoncelle et dispositif \u00e9lectronique en temps r\u00e9el, ouvre un cycle avec instrument seul et \u00e9lectronique, qui conna\u00eetra d\u2019autres d\u00e9veloppements.
\n\u00c1 la mani\u00e8re d\u2019un journal intime, mes Traces successives abordent les probl\u00e9matiques compositionnelles qui me pr\u00e9occupent aux diff\u00e9rents moments de leur \u00e9criture.
\nMon intention est de cr\u00e9er un environnement qui par le biais l\u2019\u00e9lectronique, d\u00e9multiplie, transforme et transcende l\u2019espace et les possibilit\u00e9s de l\u2019instrument soliste.<\/p>\n

Traces I oppose deux conceptions du temps musical, deux comportements sonores et deux \u00e9laborations formelles.<\/p>\n

La premi\u00e8re forme se construit dans un environnement o\u00f9 le temps musical est lisse et suspendu. Des lignes d\u2019un grand dynamisme balayent l\u2019espace ainsi que les registres du violoncelle d\u00e9multipli\u00e9 par le biais du traitement. Une nappe sonore granuleuse, changeante et dynamique, se forme avec les s\u00e9diments et les traces que ces lignes laissent dans leur trajectoire. De caract\u00e8re lin\u00e9aire, ce mouvement exploitera un violoncelle au son \u00e9panoui, voire extroverti.<\/p>\n

Au son exub\u00e9rant du premier panneau, r\u00e9ponds, le son intimiste du second. Ce caract\u00e8re r\u00e9sulte de l\u2019emploi d\u2019une sourdine en plomb et d\u2019un traitement faisant appel aux diff\u00e9rents types de filtrage, qui le corroborent. Ce deuxi\u00e8me panneau du diptyque, \u00e0 forme circulaire, s\u2019oppose \u00e0 la lin\u00e9arit\u00e9 du pr\u00e9c\u00e9dent : une phrase musicale de quelques mesures, va se r\u00e9p\u00e9ter en boucle \u00e0 la mani\u00e8re d\u2019une passacaille tout en suivant un cycle de transpositions pr\u00e9d\u00e9termin\u00e9es mais al\u00e9atoires. Au-dessus de cette trame, qui se re-g\u00e9n\u00e8re, d\u2019autres objets de nature plus fantasques et \u00e9th\u00e9r\u00e9s vont se dessiner. La forme circulaire de ce mouvement s\u2019articule dans un temps musical puls\u00e9, stri\u00e9.<\/p>\n

Note (english version)<\/h2>\n

Traces I<\/strong><\/em> for cello and electronics opens a cycle of solo pieces with real time transformation. In the manner of a personal diary, the successive Traces will address the compositional problematic of the moment I \u2018ll write them. My intention was to create an environment that, by electronics means, transforms and transcends the space and nature of the soloist.<\/p>\n

Traces I<\/em><\/strong> is a diptych that opposes two conceptions of musical time, two sound behaviors and two formal elaborations.<\/p>\n

The first one is constructed in a suspended (no pulsation) musical time environment. Dynamic cello lines, swipe the space as well as the registers of the cello which are \u00ab multiplied \u00bb by its treatment. A granular suspended texture is formed with the sediments and traces left by those lines. This movement has a linear character and the cello plays with a full and, through its treatement, an exuberant sound.<\/p>\n

To this full sound of the first panel corresponds an intimate sound of the second. This character results acoustically by the use of a lead mute in the cello, which is corroborated electronically by the use of different types of filtering. Contrasting with the linearity of the first panel, this one has a circular form: One layer, is formed by a six-measure pizz phrase, once it is played, it is recorded by Max\u2019s real time sampler and then looped until the end of the piece, following predetermined transpositions that occur in an aleatoric way. On top of this kind of passacaglia like layer, other objects, more ethereal and \u00ab fantasques \u00bb take place. The circular form of this pannel, as oppose to the first, occurs in a pulsated environment.<\/p>\n

Fiche technique (technical ride)<\/h2>\n

Here you can download two technical rider for Traces I,
\n<\/em>two leaflets (pdf files)<\/p>\n

Ici vous pouvez t\u00e9l\u00e9charger deux fiches techniques pour Traces I,
\ndeux petits livrets (format pdf)<\/em><\/p>\n

Download Traces I (temps r\u00e9el) tech rider<\/a><\/p>\n

Download Traces I (temps diff\u00e9r\u00e9) tech rider<\/a><\/p>\n

Download Traces I (disposition des hauts parleurs) tech rider<\/a><\/p>\n

Extraits<\/h2>\n

Vous pouvez t\u00e9l\u00e9charger ici deux courts extraits de \u00ab\u00a0Traces I\u00a0\u00bb.
\nLe premier extrait est issu du 1er mouvement et dure 3mn03.
\nLe deuxi\u00e8me extrait est issu du second mouvement et dure 2mn34.
\nT\u00e9l\u00e9charger ici le premier extrait<\/a>
\nT\u00e9l\u00e9charger ici le second extrait<\/a><\/p>\n

Contact<\/h2>\n

Mobile Music : martin.matalon@free.fr
\nLocation : Francesca Benvenuti
\nKitchen.Kom
\n78, Avenue de la R\u00e9publique 75011 Paris
\nTel : +33.(0)1.56.79.02.89
\nFax : +33.(0)1.43.80.53.18
\nFrancesca.Benvenuti@la-kitchen.fr<\/p>\n

 <\/p>\n

Historique<\/h2>\n

– 4 avril 2004 (CM)
\nAlexis Descharmes, Violoncelle solo
\nTom Mays et Fr\u00e9d\u00e9rique Voisin assistants musicaux
\nTechnique CIRM
\nFestival <<Printemps des Arts>> – Monaco \/ France<\/p>\n

– 13, 14, 15 et 16 avril 2004
\nAlexis Descharmes, Violoncelle solo
\nTom Mays et Fr\u00e9d\u00e9rique Voisin assistants musicaux
\nTechnique CIRM
\nBallets de Monte Carlo
\nJ.C. Maillot, Chor\u00e9graphe
\nFestival <<Printemps des Arts>> – Monaco \/ France<\/p>\n

– 6 Juillet 2004
\nAlexis Descharmes, Violoncelle solo
\nTom Mays et Fr\u00e9d\u00e9rique Voisin, assistants musicaux
\nTechnique IRCAM
\nCentre Acanthes – Arsenal de Metz \/ France<\/p>\n

– 15, 16, 17 et 18 Septembre 2004
\nAlexis Descharmes, Violoncelle solo
\nTom Mays et Fr\u00e9d\u00e9rique Voisin, assistants musicaux
\nTechnique CIRM
\nBallets de Monte Carlo
\nJ.C. Maillot, Chor\u00e9graphe
\nBarcelone \/ Espagne<\/p>\n

– 27, 28 et 29 Septembre 2004
\nBallet de Montecarlo
\nTeatro Principal
\nValence \/ Espagne<\/p>\n

– 13 D\u00e9cembre 2004
\nBenjamin Carat, Violoncelle solo
\nRobin Meyer, assistant musical
\nTechnique CIRM
\nEspace Vauban, Brest \u00a0\/ France<\/p>\n

– 23 Avril 2005
\nEnsemble Icarus
\nTechnique Cirm
\nMinara Museum Zagreb \/ \u00a0Croatie<\/p>\n

– 24 Avril 2005
\nOctuor de Violoncelles de Beauvais, EMC \/ France<\/p>\n

– 6 Juin 2005
\nDans le cadre d’un concert monographique
\nLa Maroquinerie, Paris \/ France<\/p>\n

– 15 Octobre 2005
\nMc gill Contemporary music Ensemble – Dennys Bouliane direction
\nMatt Haimovitz violoncelle
\nMcgill University, Montr\u00e9al \/ Canada<\/p>\n

-15 Janvier 2006
\nConcert Monographique transmission Radio France
\nFRANCE MUSIQUES \/ France<\/p>\n

– 5 Mai 2006
\nEnsemble Multilat\u00e9rale
\nEric Maria Couturier Violoncelle
\nP\u00e9niche Op\u00e9ra, Paris \/ France<\/p>\n

– 21 Mai 2006
\nJens McMamana Cor- Alexis Descharmes Violoncelle
\nAlexis Descharmes
\nTomas Goepfer assistant musical
\nCit\u00e9 de la Musique Strasbourg \/ France<\/p>\n

– 7 Octobre 2006
\nAlexis Descharmes Violoncelle
\nassistant musical
\nRadio France<\/p>\n

– 19 Novembre 2006
\nConcert Monographique
\nAvignon \/ France<\/p>\n

– 2 Mars 2007
\nPour violoncelle et \u00e9lectronique en temps r\u00e9el
\nMatt Haimovitz Violoncelle
\nMcGill University
\nMontr\u00e9al \/ Canada<\/p>\n

– 14 Novembre 2007
\nCello, et \u00e9lectronique en temps r\u00e9el
\nEnsemble Ars Nova
\nAnnecy \/ France<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

(2004) Pour violoncelle solo et dispositif \u00e9lectronique en temps r\u00e9el. Dur\u00e9e : ca 15 min. Commande : CIRM et le <Printemps des Arts>. Note (version fran\u00e7aise) Traces I pour violoncelle et dispositif \u00e9lectronique en temps r\u00e9el, ouvre un cycle avec instrument seul et \u00e9lectronique, qui conna\u00eetra d\u2019autres d\u00e9veloppements. \u00c1 la mani\u00e8re d\u2019un journal intime, mes […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[4],"tags":[],"class_list":["post-246","post","type-post","status-publish","format-standard","hentry","category-musique-instrumentale"],"_links":{"self":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/246","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=246"}],"version-history":[{"count":7,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/246\/revisions"}],"predecessor-version":[{"id":427,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=\/wp\/v2\/posts\/246\/revisions\/427"}],"wp:attachment":[{"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=246"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=246"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/martinmatalon.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=246"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}