Christian Zanési (FR)

"Paysage électronique avec train"

Live - Electroacoustic




A genuine sound activist, Christian Zanési has been wandering in the sound universe since childhood. A former student of Pierre Schaeffer and Guy Reibel, he joined the Groupe de Recherche Musicale (GRM) at INA in 1977, where he plied different sound trades, multiplying experiences, realisations and encounters. Insatiable sound explorer, he started many projects such as the Electromania show on France Musique, the Ars Sonora association, which edits the electronic review Ars Sonora Revue, the 4 CD boxes GRM Archives, Bernard Parmegiani, Luc Ferrari and Pierre Schaeffer, and the “Présences électroniques” festival in Paris.

Iconic character of the French electroacoustic scene, a confirmed activist in the transmission of music, Christian Zanési is now artistic director of INA GRM. As an acousmatic composer, he composes in his home studio since the 90’s and draws his inspiration from the poetic encounters with remarkable sounds, while always trying to go one step further in exploring the new possibilities offered by electroacoustic music.

At Présences Electroniques Geneva, he will perform Paysage électronique avec train (2006-2012), evoking it this way: “My present sensibility is drawn to electronic sound. Not a gentle and soothing sound, but more a tense one, almost acid: an alarm sound. I found it on a very old synthesizer, built at the GRM in the 60’s by engineer Francis Coupigny, a modular synthesizer with its connexion matrix – maybe the first one of its kind – stored (forgotten) in the basement, but still in working order. I worked on this “today’s” sound by bringing in emotionally charged materials: train noises and signals, sound bursts, breathings, etc… All these sonorities that are inside me, as available souvenirs. The title of the work was initially 2006, l’aube rouge, because by the time I finished this work, that is to say a few hours before New Year 2006, it seemed to me that I wanted to maybe talk about a world that had become terribly disturbing and dangerous: a red dawn was rising. Six years later at the same end-of-the-year time, I took up the piece again, simplifying it to keep – I hope – only the essence.”