Damien Royannais

(Angleterre - England)

Damien Royannais a choisi d'interpréter:
Damien Royannais has chosen to perform:

Olivier Pasquet

Damned *

[saxophone alto et ordinalteur en temps réel / alto saxophone and real-time computer]

Robert Chapman & Damien Royannais

Improvisation *

[saxophone soprano et ordinalteur en temps réel / soprano saxophone and real-time computer]

*Création / World premiere

Damien Royannais began learning the saxophone at the Conservatoire of Lyon where he obtained a Gold Medal with distinction at the age of 15. He won first prize at two International Competitions and subsequently embarked on a series of solo recitals with piano.

In 1996, he obtained the Premier Prix with distinction from the Conservatoire National Superieur de Musique de Paris and the Diploma of Formation Superieur in the same establishment (History of music, Analyse, Wind band, Chamber music, Gregorian choir).

Between 1988 and 1996, he recorded 7 CD's including "The Russian Saxophone" with Claude Delangle and the "Orchestre Francais des Jeunes" with Emmanuel Krivine. He won first prize at the Emile Naoumoff Competition (Paris 1995) and two second prizes at the following International Competition: "Young Musician Platform" (Birmingham 1997) and "Pacem in Terris" (Bayreuth, Germany, 1997).

He presents the saxophone as a classical instrument and aspires for it to be appreciated by a wide audience.

As well as performing as a soloist, he is a teacher (Certificat d'Aptitude, national teaching diploma of France). He teaches in Cambridgeshire and London (Anglia Polytechnic University-Cambridge Instrumental Music Agency-Morley College-Forest School...).

He is the founder of the Cambridge Intermediate Woodwind Competition which will run for the second time nationally in 2000 and is administrator and assistant teacher at the European Summer Course for Saxophone in Gap (France) since 1995. He also prepare as the founder, the first Festival 2000, which is a French contemporary music festival in Cambridge.

Although written for saxophone and real-time computer, Damned (by Olivier Pasquet) is not composed using a computer. Its four main parts are quite different in terms of rhythm and temporal relation with the machine. The first part uses Nature to take the time forward, the future is the present transformed by the (time) machine. The second part freezes the time; the third part inverses it.

These three parts can be seen as fractal in terms of time (the pulse gives dimensions). This means that there are sub-parts of sub-parts that can be recognised by hearing them. Catastrophes happen beat after beat; their result is the breaking rhythms. The tempo does not need to change, so it is easier to find them. These catastrophes are temporal but they also occur in pitch. It is sometimes possible to recognise a pitch pattern that has been altered by only one note or arpeggio. I have maybe chosen Damned as the title because of these catastrophes; it can also be a little 'hello' to saxophonist Damien Royannais.

The electronic part uses technology with a wide range of complexity. It goes from simple variabie delays to real-time cross-synthesis. Quadraphonic spatialisation has also been used. The sound leaving the saxophonist is sometimes diffused slowly into the room. It may turn around the audience or go from left to right very quickly and very frequently.

Interprètes Performers


Programme / Program

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