Nearly 60 years after its premiere, Stockhausen's Kontakte has maintained its pioneering strength and seduction of the first time. Novel in its form and material, Kontakte invents a sonic continuum between the piano, percussion, and an electronic tape; a continuum of nature between pitch and rythme, a continuum of thought between the studio and the concert stage. Stockhausen's experience was pivitol for Michaël Levinas who's magistral studio for a piano we hear here. Didier Rotella, both pianist and composer, imagines in his work a space created from an augmented instrument: an intersection of sources, delayed re-injections, continual transformation, and catharsis between two percussions and two pianos, the identities of which have been blurred.
Benjamin Lévy, Augustin Muller IRCAM computer music design
DIDIER ROTELLA CATHARSIS, commissioned by IRCAM-Centre Pompidou, Premiere 2018
MICHAËL LEVINAS ÉTUDES SUR UN PIANO ESPACE
KARLHEINZ STOCKHAUSEN KONTAKTE
In connection with the exhibition "Coder le monde" at the Centre Pompidou.
Pianist and composer, Didier Rotella (b. 1982) studied piano with André Gorog, Françoise Thinat, Anne Quéffelec, Georges Pludermacher and Géry Moutier and composition with Edith Canat de Chizy, Yan...