Composer, pianist, writer


Mr Substone's Transharmonic Travels

Electroacoustic concert piece - 2006

Eighteen sequences of approximately 2’30 are mixed at random, two by two: the performance time is not specified. It is an experiment on the sensation of stretching time, like a loop effect with no return. Very, very strange!

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ElectroSpacePiano

Concert piece for piano and electroacoustic (processed piano sounds ), 22’ - 2003
Dedicated to Bernard Parmegiani


20 years after ...... ( Piano transit 1983 )
ElectroSpacePiano makes heard a piano-matter, the source of natural energy movements: the chords become stones, the highest notes streaming, two-handed runs tidal movements, the low notes landslides. The "electro" is in the pianism, lodged in the playing, and the instrument is swept away by its proliferation. Current digital techniques permit this liveliness of reaction and fusion.

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Drama Symphony

Electroacoustic concert piece , 28’30 - 1994/1995
In memoriam Edgar Varèse

Six movements of four minutes each, linked in pairs:

1. The discovery of the mystery (poco andante)
2. The threat of a madness (presto)
3. The internal expanse (largo)
4. The nocturnal carnival (allegro)
5. The solemn dance (adagio)
6. Tragic finale (moderato)

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Eloge de l'eau

Electroacoustic concert piece, 25'30" - 1985/1986

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Eloge du zarb

Electroacoustic concert piece, 5’30” - 1984

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Piano transit

Concert piece for piano and electroacoustic (processed piano sounds ),18’ - 1983
Dedicated to Pierre Henry


A concertante piano, projecting images and carrying on a dialogue with them, plunging the listener into a huge piano, bringing his or her ear very close to the soundboard, in the recesses of the instrument. Sounds were treated with the first digital algorithms of the famous Studio 123 (the first studio of digital sound treatment at the INA-GRM, the National Audio-visual Institute), developed around that time by Benedict Maillard. Jean-Pierre Morkerken had invented for this creation a new concept of sound broadcasting. In 1983, I was formulating the dream of a new, hybrid piano coupled with a computer. We are no longer very far from that goal. Let there be no doubt about that: the piano is now in transit, like the great harpsichords at the end of the 18th century.

DL, 2003

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Image

Indiscrétions

Incidental music, electroacoustic, with Daniel Deshays, 20’- 1982

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