Biographie: Eric Broitmann.

Eric Broitmann est un compositeur et interprète de musique acousmatique.

Il a suivi les cours de composition électroacoustique de Roger Cochini au conservatoire de Bourges (où il obtient un DEM en 2004) puis de Denis Dufour au CRR de Paris de 2007 à 2010.

Ses oeuvres ont été jouées dans divers Festivals internationaux: Forum de la jeune création musicale, aux Foliesphonies, au festival Elektrophonie, à l'Espace du Son de Musique et Recherche, au festival Synthèse, au Palais de Tokyo, France Musique, au festival Futura et au GRM.

Il reçoit une mention spéciale pour sa pièce «Rouge Sang» au concours Destellos 2010.

Parallèlement à ses activités de compositeur et d'interprète il organise des évènements, concerts, stages et résidences de création partagée.

Avec Motus: des concerts découvertes et des résidences de création sonore à destination des scolaires, ainsi que des concerts tout public.

Il mène aussi des résidences de création avec Adélaïde & Co, collectif pluridisciplinaire dans lequel travaillent des artistes de tous horizons: photographes, vidéastes, plasticiens, réalisateurs, compositeurs.

En 2012 et 2013 il travaille pour le GRM au projet européen «Compose With Sound», qui vise à développer l'accès du jeune public à la création électroacoustique.

Il travaille également pour le live.

 

CARNETS AFRICAINS [49'16] .

Ce triptyque, dont la matière principale est issue de voyages sonores qu’Eric Broitmann a effectués sur ce continent, interroge mémoire et perception.

C’est un projet fondateur de sa pratique compositionnelle, qui fait appel à de larges pans de son passé et traduit un parcours à la fois personnel et compositionnel.

C’est un chemin tenu que l’on suit en voyage…

Il y a la mémoire de ces sons ramenés de là-bas, qui peu à peu, ont eux aussi été dissociés du présent.

Puis il y a tout ce que nous emmenons avec nous, dans nos bagages de vie: musique, littérature, peinture, vivants, morts.

Tout cela entre en composition et fonde à nouveau, modifie la perception.

Un parcours se peuple, déviant,

Polyphonique,

Un dialogue à plusieurs.

 

 

Biography: Eric Broitmann.

Eric Broitmann is a composer and a performer of acousmatic music.

He’s been taking courses of electroacoustic composition with Roger Cochini at the Bourges music school (where he graduated in Music in 2004) and with Denis Dufour at the Paris CRR music school from 2007 to 2010.

His works have been played in several international Festivals: Forum de la jeune création musicale, Foliesphonies, Elektrophonie festival, Espace du Son de Musique et Recherche, Synthèse festival, Palais de Tokyo, France Musique, Futura festival and at the GRM.

He received a special award for his work "Rouge Sang" at the 2010 Destellos competition.

As well as his activities as a composer and a performer, he organizes events, concerts, trainings and residences of mutual creation.

With Motus : discovery concerts and residences of sound creation for pupils, and concerts for audience of all types and ages.

He also leads creation residences with Adélaïde & Co, a multidisciplinary collective in which work all kind of artists : photographers, video makers, visual artists, directors, composers.

In 2012 and 2013 he’s been working for the GRM (Group of Musical Research) on the European project "Compose With Sound", which aims at developing the access of electroacoustic creation to young audiences.

He also works on live music.

CARNETS AFRICAINS [49'16].

This triptych, whose main material has been collected throughout sound journeys Eric Broitmann made on the African continent, interrogates both memory and perception.

It’s a founding project of his composition practise, a project that echoes large parts of his past and illustrates a tripthat is both personal and compositional.

It represents the fine, fragile path one follows while travelling…

It holds the memory of sounds the composer brought back from there, sounds that little by little have dissociated them selves from the present.

And then, it also holds everything one brings with oneself, in the luggage of one’s life: Music; Literature; Painting; the living ones, the dead ones.

All those things intertwine in a composition and builds a new and modified perception.

The journey gets crowded, deviates,

Polyphonic,

A multiple dialogue.

 

Intérieur-Extérieur [12’36] 2006

Dans ma tête multiple [16’ 21] 2010

Incantation [20’19] 2008

 

Диск французского художника Эрика Бройтманна (Eric Broitmann) вышел на лейбле Obs в разделе “Акусма” тиражом 200 копий. “Carnets Africains” – дебютный альбом Эрика, который является трехчастным звуковым отчётом. По моим субъективным ощущениям Бройтманн вложил в эту работу всю свою мощь и звукорежиссерский талант. Хотел бы заметить: несмотря на участие в течение десяти лет в различных звуковых фестивалях, никаких материалов не издавалось. Поэтому за столь долгое время творческого пути автору нашлось, что сказать нам.

Весь звуковой материал выдержан на грани полевых записей и модуляционных искажений, а также вкраплений звуков обработанных и обычных для нас музыкальных инструментов, что придает лёгкий пряный оттенок академичности. Звуки, записанные на местности и собранные в прогрессивный коллаж, рисуют нам картину африканского одноэтажного бытия. С начала первого трека звук находится в некоторой близости к природе, но всё дальше и дальше уходит в более замкнутые пространства искажений и звуковых деконструкций. Обработанные голоса людей и предметы их обихода, шорохи и гудения, а также внезапные события дают необычное чувство нереальности и сна. Ритм и чувство жизни, запечатленные Эриком и поданные под соусом коллажных обработок. Это новое пространство, которое скрывает много интересных деталей и событий. Разновидность звуковой памяти на 50 минут проявляющейся в нашем сознании. Несмотря на классические приёмы, фонограмма имеет интересный ход, слушается на одном дыхании. Автору несомненно удаётся передать нам современный африканский колорит. Для более углублённого погружения в суть “Carnets Africains” снабжён 20 страничным буклетом.

СМ, Сергей Суховик.

 

Although the sounds are from Africa, the place Eric Broitmann explores in his triptych Carnets Africains is the continent of memory. One capacity of the human brain is to gather impressions and images and infuse them into a shifting cloud that is not a facsimile of the original, but rather a woven fabric of events and movements. This fabric can be torn, folded, unpicked and rewoven again to form a totally different object, and within the scope of this project, Broitmann continually reinvents his substrata.

Themes appear and twine around others before fraying and snapping or disappearing back into the pattern. The surface is wrinkled and in places breached. It ruffles in the wind and the edges barely contain the whole, but like memory, to pin it down would be to take away its character: A brass band, a transition into electronic flux, a motorcycle starts up, snatches of voices from cheap transistor radios...

Cheap transistor radios.

Let's use the final track entitled Incantations as a case in point: It struggles to start, flickering and stuttering and spangling like sunlight glinting off polished aluminium until finally it is born. A voice repeats something over and over. Indeed an incantation of sorts. In the background people stomp and clatter around and an electronic echo strafes across the mind.

The surface is wrinkled.

A second section of processed bass pulsing and ringing frequencies, something is coming and unidentified manual work is being carried out. Building. Building. The incantation again, and water being poured on the ground. Now nothing but the intonation of a quiet voice.

Spangling like sunlight.

Eight minutes and fifty seconds have passed and over the quiet voice a gleaming drone is appearing. Startlingly a clatter of objects, bang, a whimpering character is close to the ear and worryingly emotional. Slowed and sped up goblin, spirit, impish demons enter. A clicking of pool balls, a string pluck, a choir, an echo chamber and ghostly disruptions of the reality curtain.

Goblin, spirit, impish demons

A beautifully indistinct section of blur exists for a while, behind which people talk as if going about their daily business. A kind of heat hazed view of a market or town square. Singing and heavily electronic clouds erupt occasionally. The sounds with which this track started appear again. Sunlight glinting off polished aluminium. The incantation. The summoning. A voice repeats something over and over.

The surface is wrinkled.

Emerging from a journey without knowing which road you took, what you saw or in which order things occurred is a little disorientating. Many objects and pseudo-objects fill the landscape and not all have paths around them. Some you need to pass through. Others you skirt around and some vanish just as you get purchase on them, they fall from beneath you and leave you stranded.

 The continent of memory.

Travelling through air, across water and earth, yet with the linearity of time rippling like the Niger river, swirling and carrying the truth of cause and effect away in the eddies and waves as they strive for the solidity of the far shore, Carnets Africains is complex but not impenetrable, because it continues to surprise and contains clear light. Of course there is no map because memory cannot be navigated using maps. It requires intuition and vision.

Cheap transistor radios.

So on these three tracks modern Africa brushes up against the remains of ancestral systems and nature. As a kind of psychogeographical journey through townships, deserts, on rivers, through streets, into people's houses and rituals, Carnets Africains bristles with life and draws the listener deep into the concrete reality of a fevered dream.

A continent of memory.

Chris Whitehead.

28.1.14.

fragment:  /1-Interieur-Exterieur.mp3  /2-dmtm.mp3  /3-incantation.mp3