concerts, conférences, stages

December 5, 2019
Vincent Laubeuf will be invited as a guest speaker in the Sound Synthesis class at the Tokyo University of the Arts 
12月5日(木)三限(13時-)の藝大サウンドシンセシス@上野音響研スタジオは、作曲家の Vincent Laubeuf さんがゲストです。ヴァンサンさん、貴重な来日中にありがとうございます。よろしくお願いします。

December 7 and 8, 2019
Electronic and Acousmatic Paris-Tokyo Sounds
Le 7 décembre
Improvised music concert with 有馬 純寿 Sumihisa Arima、佐藤 亜矢子 Ayako Sato、北條 知子 Tomoko Hojo
Le 8 décembre
Workshop and acousmatic music concert, carte blanche
music by Eric Broitmann, Bruno Capelle, 梅沢 英樹 Hideki Umezawa, 佐藤 亜矢子 Ayako Sato, 渡辺 愛 Aï Watanabe and Vincent Laubeuf
Place : elephant STUDIO(〒150-0002 東京都渋谷区渋谷2-7-4)Tokyo
More informations...

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.