“The ideas inherent to Chants de l’Amour require the use of a synthesized voice although it is difficult not to eroticize the sounds of the computer.” This is how Gerard Grisey announces the complexity of the project carried out at IRCAM in the 1980s. The computer program Chant made it possible to create pure synthesis and transform concrete sounds using filters. Ten different languages, litanies, interjections…. Les Chants de l’Amour modify this heterogeneous material over time. Even more, they couple voice and machine, monstrous, menacing, and seductive, the 12 voices for the vocal ensemble. Twenty-five years after Grisey, Alberto Posadas, the original heir of spectral thought, immerses the real voices in a virtual instrumental space. Singing in an instrument to create the model of a resonator, removing the electronics: this compositional gesture owes much to Grisey’s founding experience.
GÉRARD GRISEY LES CHANTS DE L’AMOUR
ALBERTO POSADAS VOCES NÓMADAS Premiere 2017
commissioned by Annie Clair, the festival Messiaen au Pays de la Meije, Musicatreize, and IRCAM-Centre Pompidou
Roland Hayrabedian Conductor
Thomas GoepferIRCAM Computer Music Design
On the Spot : Alberto Posadas
Interview realised by Frank Madlener © IRCAM-Centre Pompidou, 2017
Voces Nómadas, Premiere by Alberto Posadas
Composer (b. 1967)
In 1988, Alberto Posadas met the composer Francisco Guerrero, who he considers to be his true master. With him, Posadas explored new forms using cominatory and fractal techniques...