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concerts, conférences, stages

20 janvier 
TINTAMARRES#16, Marseille, Cité de la musique
Conférence et concert portrait
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15 mars
France Musique émission « En pistes ! Contemporain !  » de Rodolphe Bruneau-Boulmier et Emilie Munera A propos du CD « …on ne sait pas »
More information…

May 6, 2020
ONCEIM and Motus
L’appel de l’océan Creation for orchestra and acousmonium
Festival Switch 4 / Théâtre de Vanves, France

9 et 10 mai 2020
Festival Dutilleux
9 mai – 15h Auditorium de Huismes
Direction Alessio La Luce – Restitution et création commande pédagogique de Vincent Laubeuf Ressacs pour piano, flûte, saxophone et électronique
10 mai – 11h Parc de la Forteresse Royale de Chinon
Concert Brunch électroacoustique « les modèles naturels » OEuvres de François Bayle, Vincent Laubeuf, François Bernard Mâche, Livia Giovaninetti, Jonathan Prager
More information…

29 mai 2020
Concert au CMMAS, Mexico
More information…

May 6, 2020
ONCEIM and Motus
Creation for orchestra and acousmonium
Festival Switch 4 / Théâtre de Vanves, France



New CD …on ne sait pas

Available here

This diptych is composed of
« Dans le silence on ne sait pas » and « Dans le bruit on ne sait pas »
+ an interlude "5 miniatures"
The complete work was premiered at the CCMC festival at the Institut Français de Tokyo on March 5, 2016

an ArtSonique / Motus co-production

Review of this CD in Le Diapason of December 2019
 "Listening to this programme, we would be tempted to associate Vincent Laubeuf with the 'instrumental' side of acousmatic music. Opening Dans le silence on ne sait pas (2015) with a sample from Haydn's The Creation, the composer anchors the piece in acoustic sound, while applying numerous anamorphic transformations to it, with a strong presence of electronics.
The magma of Haydn's "chaos" and then a naturalistic atmosphere will be followed by a much more stormy section, triggered by Haydn's initial chord (and timpani roll), whose quotation had been amputated. A passage rhythmed by samples of snare drum and other percussive instruments, a possible allusion to techno music, then gradually dissolves into an anxiety-filled atmosphere of solar winds and high-voltage line crackles. In the noise one does not know offers a very close material, treated however in a very different way, in particular by the intensive use of its looping. A cyclic melodic pattern subject to phase shift and Doppler effect, harmonic layers from Haydn, an electronic flicker tending towards electrical interference, a short, strongly reverberated and lateralized trumpet call, or the integration of field recording: the means are as simple as their combination is sophisticated. A beautiful poetic and dramaturgical space, which would certainly not have the same depth if it were not prepared by the first part of this diptych. "Pierre Rigaudière 685 p 93


In the process of writing Shakyo for instrumental ensemble for the Ensemble Court-Circuit (premiere in 2020) commission from the French Ministry of Culture.