Philippe Manoury B-Partita (in memoriam Pierre Boulez) 2016 - Brahms - IRCAM
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Document printed Wed 21 Aug 2019 07:48 IRCAM
Philippe Manoury
B-Partita (in memoriam Pierre Boulez)
2016
Premiere
2016
The setup and the execution of the electroacoustic part
of this work requires a Computer Music Designer (Max expert).
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Document printed Wed 21 Aug 2019 07:48 IRCAM
Table of content
Work related information 3
Performance details 3
Detailed staff 3
Realisation 3
Useful links on Brahms 3
Version related information 4
Documentalist 4
Realisation 4
Upgrade Motivation 4
Comment 4
Other version(s) 4
Electronic equipment list 5
Files 6
Instructions 7
Audio and Loudspeaker setup 7
Software installation 7
DSP Overview: 8
System calibration and tests 9
Simulation test: 10
Initialization routine 11
Patch presentation 11
MIDI mixer Setup 11
Performance notes 11
Program note 13
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Work related information
Performance details
• June 16, 2016, Paris, Centre Pompidou, Grande Salle, Festival ManiFeste-2016
Publisher : Durand-Salabert-Eschig, Universal Music Publishing
Detailed staff
• soliste : violon
• flûte, hautbois, clarinette, cor, trompette, 2 percussion, 2 violon, alto, contrebasse
(Detailed staff comes from Brahms, send mail to brahms-contenu@ircam.fr for correction.)
Realisation
• Serge Lemouton
Useful links on Brahms
• B-Partita (in memoriam Pierre Boulez) pour violon solo et ensemble (2016), 23mn
• Philippe Manoury
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Version related information
First performance
Performance date: June 16, 2016
Documentation date: June 28, 2016
Version state: Documented
Documentalist
Emilie Zawadzki (zawadzki@ircam.fr)
You noticed a mistake in this documentation or you were really happy to use it? Send us feedback!
Realisation
• Julien Aléonard (Sound engineer)
• Serge Lemouton (Computer Music Designer)
Default work length: 23 mn
Upgrade Motivation
Runs only at 44100 kHz (due to the virtual string physical model)
Comment
The electronic part, as well as the violin part are very similar to Partita 2.
A few discrepancies can be found in the antescofo score, but the max patches are identical !
Other version(s)
• Philippe Manoury - B-Partita (in memoriam Pierre Boulez) - BiennaleDeVenise2018 (Oct. 23, 2018)
• Philippe Manoury - B-Partita (in memoriam Pierre Boulez) - EOC-2017 (Jan. 9, 2018)
• Philippe Manoury - B-Partita (in memoriam Pierre Boulez) - CollegeDeFrance2017 (June 26, 2017)
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Electronic equipment list
Audio Equipment
• 1 DPA 4061 - Condenser Microphones (DPA)
• 6 Monitors and Loudspeakers
• 1 subwoofer - Subwoofers
Computer Music Equipment
• 1 Retina - Apple Laptops (Apple)
• 1 iPad - Tablets (Apple)
• 1 Max 7 - Max (Cycling74)
• 1 Ircam Spat - Library (Ircam)
• 1 antescofo~ - Library (Ircam)
• 1 Mira - Library (Cycling74)
• 1 synful orchestra - Virtual Instruments (Synful)
• 1 Fireface 800 - Sound Board (RME)
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Files
File Type Author(s) Comment
patches and simulation All-in-one Serge Lemouton
(corrupted)patches and simulation All-in-one Serge Lemouton
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Instructions
Audio and Loudspeaker setup
Software installation
For performance reasons, 5 different patches are running simultaneously on the same computer to play the
electronic part of B-Partita :
B-Partita+3FC-05-2016: The main patch using antescofo for score following and control of all the synthesis
and transformation processes. The "three frequencies chord" ("3FC"), an additive synthesis controlled by a
continuous sound analysis of the violin is also included in this patch.
_P2_synful_01__: _Synful synthesis used to play some automatic sequences of notes
P2_spat_01b_: _6 channels spatialisation
P2_string_04_: _Two virtual physical modeled strings synthesis
The P2_synful_01, P2_spat_01b and P2_string_04 patches should be used in their application form.
You can start all the required applications and patches by executing the BP2-2016-run.sh script in the terminal.
files preferences:
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MaxMsp file preferences should point to the entire folder :
• B-Partita-max-2016
DSP Overview:
This diagram shows the audio routing between the applications:
The audio lines from 9 to 16 are used to communicate between the different applications, so the inputs should be
connected to the outputs of the audio soundboard.
You can do it :
with an optical fiber loop.
or in the fireface software, do ctrl + click on the name of the track. It will become pink:
The patches (or applications) communicate via Open Sound Control commands through network (UDP) messages
and with audio via optic fiber link on the audio card.
DSP status and IOSetup:
The IO mappings for each application are shown below:
Max:
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Warning : Put scheduler in audio Interrupt !
String:
Synful:
Spat:
After setting the DSP status, quit every application in order to save the settings.
System calibration and tests
test "antescofo" _with the "testrecording" in "p antescofo"_:
On the main patch "_B-Partita+3FC-05-2016", select "antescofo" in the menu "_go to".
(This menu contains shortcuts for easy access to important subpatches)
a window appears:
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1) Click on the bang (Number 1). It resets everything in antescofo.
2) Choose a score (for example "Partita-II.1.asco").
3) Choose the event you want to go to.
4) Click on play and check that it commands all other patches.
5) Calibrate antescofo by clicking in the "p calibration" in "p antescofo".
Check the toggle "Calibrate $1", the waveform must be close to 1:
Simulation test:
in "B-Partita+3FC-05-2016", choose "simulation" in_ the "_go to" menu.
This window opens:
We have done 2 recordings of the solo violin part, in "Partita-Due/snd/_B-partitaFilage030616.aif" and
"__Partita-Due/snd/_Bpartita_FilageAvecEnsemble.aif".
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Start the follower in the antescofo window as it is explained in the "initialization routine",
Choose "Bpartita_FilageAvecEnsemble" for example (arrow number1),
It will automaticallycheck "play" in the simulation window(number 3), and you will see sound on the
meter (number 4).
There are also markers on the recordings called "filage 170712"__ and "filage 160712".
To begin for example at part 2, number 50 in the score, you can choose it in the window below the file name
(number 2).
The simulation violin sound is routed to dac7.
Initialization routine
Run all the patches (2) and applications (3). (see "Software installation")
Open the antescofo window located in the main patch with the "go to" menu.
1. Reset antescofo by clicking on the blue button between "score" and "jump to cue" (arrow number 1)
2. Choose the score below "score".
3. Then you can :
* "start" (arrow number 6 in _**System calibration and tests**, ___**test**___**"antes
* _"play"_ (arrow number 4 in _**System calibration and tests**, ___**test**___**"ante
Patch presentation
You can stop the follower by unchecking "suivi" and follow evenements manually with the space bar.
MIDI mixer Setup
A midi mixer can be used optionally but an ipad with Mira software is recommanded.
Performance notes
For the sound engineer: The violin must be amplified throughout the whole piece except between event I.5 and
event I.18 with a crescendo between I.18 and I.19.
For the Computer Music Designer: Score following (with antescofo) is automatic in most of this work except :
event I.1
event II.1
event V.1
For these events, you should follow manually the conductor (using the space bar).
_The follower is on at the beginning of the last movement (until the end of the piece)_ slow fade-out (approximately
15 ") at the end of the piece.
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© IRCAM
This documentation is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0
International License.
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Program note
C’est la troisième fois que Philippe Manoury utilise le terme « Partita » pour l’une de ses œuvres. Un terme aux
fortes connotations baroques qui, pour le compositeur, fait référence à une œuvre pour instrument seul, non
structurée par une forme préétablie. « Les Partitas de Bach, dit-il, sont des suites de danses sur lesquelles on ne
danse pas et qui se distinguent des Sonates par une structure plus libre et plus diverse (7 ou 8 mouvements contre
4 pour les Sonates). Mes Partitas sont dédiées aux cordes (j’envisage d’en écrire une pour violoncelle et une autre
pour contrebasse) et sont en un seul et unique mouvement – à l’instar de la Sonate pour piano de Liszt, de
certaines Sonates de Scriabine ainsi que de celle de Berg. »
Dans B-Partita, un ensemble instrumental s’ajoute au noyau initial constitué par l’instrument soliste et
l’électronique. L’œuvre est en fait un élargissement ou une extension de la [work:32040][Partita 2] , pour violon et
électronique, suivant l’exemple des Sequenze et Chemins de Luciano Berio. La partie de violon ainsi que
l’électronique de la [work:32040][Partita 2] sont pratiquement inchangées tandis que l’ensemble instrumental glisse
ses commentaires et contrepoints dans les interstices laissés ouverts entre les diverses séquences de la partition
d’origine.
La démarche d’écriture de certains de ces commentaires relève du palimpseste. Historiquement, le palimpseste
désigne le réemploi d’un par chemin déjà utilisé – dans le cas présent, il s’agit plutôt de réécrire sur un canevas
déjà écrit. Le terme de « palimpseste » sert d’ailleurs de sous-titre à la deuxième section de cette Partita. Certains
traitements instrumentaux sont directement ou indirectement déduits des sonorités de synthèse, en cherchant,
lorsque c’est possible, des analogies entre le monde instrumental et le tissu électronique existant.
Jérémie Szpirglas.
Note de programme du concert du 16 juin 2016 au Centre Pompidou.
Version documentation creation date: June 28, 2016, 5:52 a.m., update date: May 4, 2018, 3:17 p.m.
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