Simultaneous Translations

Live music + photo projection

Since I was a child, I am drawn to observing. Contemplation of landscapes, and especially the way light wraps around them, has always been a great source of inspiration to me, even before I knew how to write music. In this project with my friend Terence Pique, I saw an opportunity to make the relationship between my reading of the light and my work sensible. I composed four sets of numbered musical sequences, for four instrumentalists. As the pictures from Terence’s « D’un certain état labyrinthique du paysage » series (see contact sheet below) where projected in shuffle mode on the wall in front of me, I would read them, and tell each musician what to play next. And this randomness-embracing process, along with several moments left to complete improvisation, sometimes gave way to music even I hadn’t anticipated.


Intrumentation Flute in C and Bass, Clarinets in Bb and A, Violin, Cello, small Percussions

Premiered on October 21st, 2016 in Tokyo, Hot Buttured Club // with the support of: Institut Français Tokyo and the French Ambassy in Japan // in partnership with Petit Kokoro (booking).

Kaori WAKABAYASHI (Fl) Kaoru NISHIMURA (Cl) Aya KONO (Vln) Kei YAMAZAWA (Vlc) // Térence PIQUE (photos)

Sous le parrainage de: Ambassade de France / Institut français du Japon

Pictures of the premiere ! (Thanks to Maeda Hiro-taka © 2016 all rights reserved)


Les Mains comme Voiles

It all comes down to some sort of a game; the air you breathe out is the wind, the clarinet is your ship. Your fingertips handling the instrument allow you to sail with it. There might be no land to head for, though.


Instrumentation Clarinet solo (Contrabass, bass & Bb alto)

Premiered on June 11th, 2015 in Paris, Schola Cantorum (Auditorium) by Alvaro Zegers

Kaoru NISHIMURA (Cl) recorded at the Vivo Daily Stand Okubo in Tokyo, 2016/09

Daily Vivo Stand !

S’adapter, en permanence, à la courbure de la terre

To fly over; the constant struggle to maintain the proper altitude. To watch, far below, a thousand landscapes rolling under. Beating wings or mechanical steering, no difference. « To adapt, permanently, to the curv of the earth. » To make this image more vivid, the score is weaved of repeated paterns, jumping from one instrument to the other, and evolving as we go through it, sonic ground seen from your inner skies.


Instrumentation Clarinet, Piano, Violon

Premiered on april 17th, 2016 in Tokyo, Yuragi Music Salon (ゆらぎ音楽家)

Kaoru NISHIMURA (Cl) Yu KANAI (Pno) Aya KONO (vln)

Chant des Lumières Exsangues

The door I came in from shut and disapeared; and here I am on the threshold, fearless. It is like a free fall jump, experienced by a blind person. I lived on the other side, but I am not dead here. I am surrounded by light without blood, through which I walk to the next stage.

The score is partly writen, partly improvised around imposed note paterns. It was originaly thought as a musical response to Anaïs CHARRAS‘ « Les Gardiens » series (initiated in 2014), a set of 12 drawings on paper-layed wooden panels including the one below. It has then been included in a performance including dance and poetry reading (see below).


Instrumentation Bass Clarinet, Viola, Percussions & Piano

Premiered on May 22nd, 2015 at Galerie Ko21, Paris (original version) + June 16th, 2015 (dance+poetry version) at Olympic Café, Paris // in partnership with Classical Revolution France

Alvaro ZEGERS (B. Cl) Ruth AMARO (vla) Sylvain THOMAS (perc.) Yuko HIRONAKA (pno) // & for the dance+poetry version: César MURILLO + Karina VERA (contact-improvisation) Anne-Cécile CAUSSE (poems) Anne-Sophie NICOLAS (reciter)


Chercher son reflet dans l’effondrement des Falaises

Prayer for continuous love, meant for the human voice but played on an organ. No human choir could sing this, though it has to be rendered by actual air moving through actual wind pipes. The mountains crumbled, plunging to the water bed, and they were brought down with it; while they fell, they kept looking for the reflection of their faces on the smooth surface of the ice, already abandonned in every way yet still loved.


Instumentation Solo organ

Premiered on April 13th, 2015 in Paris, Schola Cantorum (Main Auditorium) by Philippe HATTAT

Clément VARIERAS (Org)

Quatuor à Cordes n°1

A song of solace, in loving memory of Pierre Charras (1945 – 2014), author of 17 novels published by Gallimard (France) and many translations. Program on the night of the premiere also included the beautiful « Rosamunde » quartet by Franz Shubert, composer to which the writer had dedicated one of his lasts work, « Le Requiem de Franz » (2009).

Premiered on april 7th, 2015 in Paris, Olympic Café by the CR/FR Quartet

Valentin Brouke & Julie Boyer (vln) Sarah Niblack (vla) Clothilde Lacroix (vlc)

Quatuor CR/FR

Trois lumières cardinales

North, South and West, three different lights. You’re in a car stopped amongst wheat fields. You’re in a large storehouse and the door on the other side is open. You’re in a silent street, the air is thick as if time passed a little slower. You’re home under white skies. You are near water – well, so you think. You don’t hear any wind.

Instrumentation Piano solo

Premiered on April 14th, 2014 at Schola Cantorum de Paris, Paris (Auditorium)

Philippe HATTAT (Pno)

La Serre d’Émeraude

A little bit about myself. I moved to Paris when I was 18. The first few mounths there, all I had in my appartment was some cooking gear, a couch (on which I used to sleep), one table, two chairs and my mother’s old piano. For almost a year I felt I didn’t need more. When I was alone at home, I practiced and composed music for the plays my friends in theatre studies at the university were working on. From this period I kept a book of scores, most of them way too simplistic to be made public; but following advice from a wise friend I picked 18 tracks among 5 pieces to record on disk, as a testimony. After a succesful campagne of crowdfunding, Anne-Cécile Causse (Cello), Silvia Zanaboni & Jean-Luc Tassel (Pno) and I locked ourselves in a studio near Paris for 3 days. Ensued « La Serre d’Emeraude », The Emerald Greenhouse, a selection of short pieces composed from the age of 16 to my early 20’s.

You can buy this album (and help me financially by doing so ^^) off BandCamp