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International Rostrum of Electroacoustic Music 2007

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International Rostrum of Electroacoustic Music 2007 International Rostrum of Composers 2010 Tribune Internationale des Compositeurs 2010 Lisboa ARGENTINA Consejo Argentino de la Música Radio Universidad Nacional LM Presented works: 1) ARQUETIPO (2007) for Ensemble 13'15'' by Lucas Fagin Performer: Orchestre des Lauréats du Conservatoire National Supérieur de Musique et de Danse de Paris Conductor: Zsolt Nagy 2) ECOS DE LA MUERTE (REQUIEM) (2007) for Ensemble of Indigenous Instruments of the Americas 11' 52'' by Luciano Andrés Borrillo Performer: Orchestra of Indigenous Instruments and New Technologies Conductor: Alejandro Iglesias Rossi DELEGATE: María Vanesa Ruffa CONTACT: Alejandro Iglesias Rossi Email Address: [email protected] [email protected] LUCAS FAGIN Lucas Fagin was born in 1980 in Buenos Aires, Argentina. He studied composition, piano and electric guitar with Daniel Montes and Ricardo Martinez until 2003 in Buenos Aires. From 2003 until 2007 he studied composition with Marco Stroppa, Stefano Gervasoni and Luis Naón at the Conservatoire National Supérieur de Musique de Paris. In 2002, an inflection point arrived when Irvine Arditti premièred his piece “Triángulos y Espacio” in Buenos Aires. Later, in 2003 he was composer in residence at the Teatro Colón of Buenos Aires for the project“Instantáneas”. In the subsequent years he travelled to China for the première of his quintet “Electromekanico”at the Beijing Modern Music Festival, he worked with Nicolas Crosse to develop “Crónica del Oprimido” for double bass and electronics and he wrote several pieces experimenting with instrumental and electronic spatialization (“Cometas”2004 for 14 musicians, “Filamentos”2006 for multichannel electronics and “Galaxia Espiral”2005 for 15 musicians) working with conductors like Guillaume Bourgogne, Frank Ollu and Rut Schreiner. Japanese pianist Kenichi Nakagawa premièred his piece “Austral” in Tsuda Hall, Tokyo. Three times he took part in the Forum de la jeune création musicale in Paris. “Entre Mundos” for orchestra was performed at the Olivier Messiaen Auditorium, Maison de Radio France and directed by Zsolt Nagy and later, he continued exploring different possibilities exploiting particularly the use of spatialization and noise in “Physiological Mechanics Fantasy” for electronics and “Ilusionario” for sax ensemble premièred by the Ensemble Squillante in 2009, France. Finally, by decision of Helmut Lachenmann he was invited to Tokyo for a concert with the Tokyo Philharmonic Orchestra (directed by Tetsuji Honna), the Multilatérale String Quartet (France) premièred his new piece ”Spires” in Paris and he was commissioned by the Buenos Aires International Contemporary Festival to compose a piece for Reinhold Friedrich and Robyn Schulcowsky (Germany). He was awarded several international prizes, among others, “Music Composition Prize 2009” from the French Academy of Fine Arts, the “Joan Guinjoan International Composition Prize” 2004 and 2006 editions (Barcelona), the first prize “Juan Carlos Paz Composition Competition” 2005, 2007 and 2008 editions (National Arts Fund, Argentina), the third price “ICC 2006” (Tokyo), the first prize “Diffusion 2006”(Ireland), the third prize “Toru Takemitsu Composition Award 2009”. In 2005 he received the Fondation Internationale Nadia et Lili Boulanger Scholarship as the first qualified. He also received scholarships from the Tarrazi and Meyer Foundations in the years 2003 to 2007 (France) and an honorary mention from ARS Electronica Prix 2009. His music was played in various countries in Asia, Europe and America and edited in score, Cd andDVD by Zen-On Music Co (Tokyo), éditions Jobert (France), CREC (Conservatoire de Paris) and Prix ARS Electronica 2009/Sony (Linz). At present he is working on a commission for the Ensemble Intercontemporain and he is also engaged in the composition of a new electronic micro-opera for the Tacec Argentina. Program notes Arquetipo (Archetype) Starting from a series of sonic ideas I made a drawing which I named"Static Vision of the Whole" which contained roughly the six episodes of the future piece: Universal Expansion, Comet, Ramifications, MassDredging, Whirlpool and Articulations. By and by, I started to ask myself about this design, where it came from, what it meant. Finally I started perceiving that what had emerged in my mind like a jigsaw puzzle and as mere abstract construction was in fact a vestige of real history of a remote past. A history of a former world unconsciously transmitted from generation to generation, a primitive mental image inherited from the earliest human ancestors, and supposed to be present in the collective unconscious. The physiological history of a universe, which through introspection had managed to come to the surface first in the way of sonic ideas, later as images and lastly as written music. In this piece the device is not conceived as an orchestra in its traditional functions but as an ensemble of soloists. There are almost no either signs or reference points tending to build columns in time, the bridges of memory are destroyed and the form gets unstable. Besides, the fragmentation of the instrumental discourse creates a constant timbre fluctuation that tends to generate a retroactive and continuous dissolution of the past. At each step, the piece is a path dissolving behind us. Orchestre des Lauréats du Conservatoire National Supérieur de Musique et de Danse de Paris Composed by the Prize Winers of the Lyon and Paris Conservatory, it was created in 2002. Its primary function is to by at the service of the Conducting, Composition and Orchestration Courses as well as the recording of solo concertos. LUCAS FAGIN Née en 1980 à Buenos Aires, Argentine Lucas Fagin étudie la composition avec Daniel Montes, le piano avec Aldo Antognazzi et la guitare électrique avec Ricardo Martinez jusqu’en 2003. À partir de 2003 il étudie la composition au Conservatoire National Supérieur de Musique et de Danse de Paris avec Marco Stroppa puis Stefano Gervasoni et Luis Naón. En 2002, sa partition Triángulos y Espacio (Prix CEAMC-British Council) est créée par Irvine Arditti à Buenos Aires. En 2003, il réalise la partition d’un ballet contemporain, Instantáneas, commandé par le Centre d’Expérimentation du Teatro Colón de Buenos Aires. Une fois installé en France il collabore avec Nicolas Crosse pour la composition de Crónica del Oprimido, pour contrebasse et électronique. Il voyage en Chine pour la création de ElectroMecaniko . Il écrit une série d’oeuvres en faisant particulière emphase dans la spatialisation du son (Cometas pour 14 musiciens,Galaxia Espiral pour 15 musiciens et Filamentos pour dispositif électronique multicanal). Aussi il travaille avec Nicolas Crosse dans la composition de Crónica del Oprimido pour Contrebasse et électronique et avec des chefs tels que Guillaume Bourgogne, Franck Ollu et Rut Schereiner. En 2006 le pianiste Kenichi Nakagawa crée Austral au Tsuda Hall, Tokyo et Entre Mundos pour orchestre et crée par l’Orchestre du Conservatoire de Paris et dirigée par Zsolt Nagy dans l’auditorium Olivier Messiaen à la Maison de Radio France. En 2008 il continue à explorer des différentes possibilités en exploitant l’utilisation de la spatialisation en Ilusionario(commande de l’Ensemble Squillante, France) et Physiological Mechanics Fantasy(commande de la radio Rte Lyric, Irlande). En 2009 il est invité à Tokyo par Helmut Lachenmann pour la création de Crónica Fisiológica Universal par l’Orchestre Philharmonique de Tokyo et plus tard le quatuor à cordes Multilatérale crée Spires (commande de la SACEM, France). En même temps, il compose une nouvelle oeuvre pour Robyn Schulkowsky et Reinhold Friedrich (commande du Théâtre San Martín, Buenos Aires) et il travaille dans un opéra électronique au TACEC(La Plata, Argentine). En 2010 l’Ensemble Intercontemporain lui commande une nouvelle pièce pour ensemble pour l’année 2011. Lucas Fagin a reçu, entre autres, les prix suivants : -Bourse de Composition Musicale 2009 de l’Académie Française de Beaux Arts; Troisième Prix Toru Takemitsu Composition Award 2009; Mention d’Honneur Prix Ars Electronica 2009 Premier Prix Concours de Composition Juan Carlos Paz 2008 (Fond National des Arts, Argentina); Premier Prix Concours de Composition Juan Carlos Paz 2007 (Fond National des Arts, Argentina); Premier Prix Concours International de Composition Joan Guinjoan 2006 (Barcelone); Premier Prix Concours International Diffusion 2006 for Electroacoustic Music (Irlande); Troisième Prix Concours International de Composition ICC-Piano 2006(Tokyo)-Premier Prix Concours de Composition Juan Carlos Paz 2005 (Fond National des Arts, Argentina); Premier Prix Concours International de Composition Joan Guinjoan 2004 (Barcelone); Bourse de la Fondation Internationale Nadia et Lili Boulanger (Paris) Sa musique à été éditée en plusieurs éditions en format de partitions, Cds et Dvds par Zen-On Music Co(Tokyo), éditions Jobert-Lemoine(Paris), CREC(Conservatoire de Paris) et Prix Ars Electronica 2009/Sony (Linz). Notes de Programme Arquetipo (Archetype) En partant d’une série d’idées sonores, j’ai créé un dessin que j’ai appelé “Vision Statique du Tout” qui contenait les six épisodes d’une pièce future : Expansion Universelle, Commet, Ramifications, Dragage de Masse, Tourbillon et Articulations . Peu à peu, j’ai commencé à me poser des questions sur ce dessin, d’où il venait, quelle était sa signification. Finalement, j’ai commencé à percevoir que ce qui était émergé dans mon esprit comme un puzzle et comme une construction abstraite était un vestige d’une histoire réelle du passé lointain. Une histoire d’un monde ancien, transmise inconsciemment de génération en génération, une image mentale primitive héritée des ancêtres les plus anciens et suppose d’être présent dans l’inconscient collectif. L’histoire physiologique d’un univers qui a pu se rendre à la surface premièrement dans la forme d’idées sonores, puis comme des images et finalement comme musique écrite. Dans cette pièce, le dispositif n’est pas conçu comme un orchestre avec ses fonctions traditionnelles mais comme un ensemble de solistes. Il n’y a pas de signes ou de poings de repère qui tend à bâtir des colonnes dans le temps, les ponts de la mémoire sont n’existent pas.
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