Contemporary Music
- Title: Introduction aux ténèbres
- Composer: Raphaël Cendo
- For Baryton voice, double bass, Ensemble and electronics
- Date of composition : 2009
- Duration : 45 minutes
- Collaboration: Computer Music Design
- Nomenclature : Soliste(s) : 1 basse solo, 1 contrebasse ; 1 clarinette basse, 1 tubax (saxophone contrebasse) (aussi 1 saxophone soprano), 1 basson (aussi 1 contrebasson), 1 cor, 1 trombone, 1 tuba, 2 percussionniste, 1 piano, 4 violoncelle, 1 dispositif électronique
- World Premiere: 18 octobre 2009, Donaueschingen, by Romain Bischoff : baryton, Nicolas Crosse : double bass and Ictus Ensemble
- Performance: (création française) IRCAM, espace de projection, Paris, 20 Nov 2009, par Romain Bischoff : baryton, Michaël Chenu : double bass and EOC Ensemble
- Performance: Festival jeunes créateurs, CNSM, Lyon, 14 mars 2010, par Romain Bischoff : baryton, Michaël Chenu : ouble bass and EOC Ensemble
- Performance: Festival Musica, Strasbourg, 28 sept 2010, par Romain Bischoff : baryton, Nicolas Crosse : double bass and Ictus Ensemble
- Performance: Genève, 27 mars 2011, par Romain Bischoff : baryton, Michaël Chenu : double bass and EOC Ensemble
- http://brahms.ircam.fr/works/work/25688/
Raphaël Cendo is known as a composer who explores saturation. I’ve been working on several voice processing algorithm for this piece and on a new vocal technic. Here is some examples of imaginary transformation of a baryton’s voice (or bass’s voice) toward the darkness:
- Transients separation and reverberation for a «cavern effect»
- Granulation to simulate insects coming out the mouth (“green line effect”)
- Reinforcement of basses to enlarge the speaker
Also, together with R. Bischoff and Pr. Laurier-Fagnan from the University of Alberta -Canada, we’ve been working on a new vocal technic using inhaled production, providing loud infra-basses. Finally, I made a large study and developments on phase distorsion and phase bashing.
