The Music of Vincent Laubeuf

How could you define your music? (Theories, influences, objectives)

I’m a composer who likes to approach the multiplicity of genres, expressions. Thus, I approach as much the acousmatic, that the mixed music or instrumental, the radio creation that the sound installation, the conception of live spectacle that the improvisation electroacoustique. This multiplicity is united by the same artistic project. This project is thus approached from several angles, several point of view, several types of perception: even all these disciplines work on the sound, their relation to the public proposes different perceptions (approach of different temporal, scenic presence or not, etc.)

For my influences on the musical level it’s quite broad as medieval music (more is old, better is) than extra-European music (especially Japan, is gagaku, is ritual music). In concern acousmatic music I’m influences by Denis Dufour because of his compositional rigor (he was my teacher), Pierre Henry, because it is sound quality raw and whole and especially by Luc Ferrari, Which in some way liberated the music by giving power to the sonic anecdote (while maintaining a saving distance on what music is.)

But influences are not only musical: philosophy (for example Clément Rosset and his approach to reality and fortuity), literature (for example, with the Japanese writer Yoshimura, and its precise atmospheres and strange), the cinema (Kobayashi, still a Japanese)

My objective, my artistic project, is directed more and more towards a music of observation ; attention to sound, to silence. A sound not necessarily beautiful, I do not seek hedonism, it’s not the subject, but a sound whose intrinsic richness, the relationships it weaves together created as an energy, a tention, see even a form of dramaturgy.

What is your musical origin and how you realize your musicality?

I come from classical music, I have done many years of violin (up to the age of 20 years) before devoting myself entirely to composition. The choice of creation rather than reproduction (however laudable it may be)

The fact of coming from classical music taught me the rigor of compositional work: structure, form, details (this is not the only way to make music successful, but it suits me well).
In general, before composing, I take notes, ideas, in a textual way. Depending on the theme, I read, I watch, movies, exhibitions, I walk (a lot). Once this is done, either I will try to collect sounds (outside, in the studio, my kitchen …) or I work directly with the sound banks I already own. The first stage of composition itself, I want it fast, see extremely fast, I throw the sounds like to make a sketch. Once this sketch done, I polish it, I orchestrate the sounds, I “play” the music to give the impression that there is already an interpretation: this step takes an enormous amount of time, in order to have a form both coherent and alive, felt.

Present your new work …

My last work is called « Torii, la porte du moi » “Torii, the door of the month”, it is a radio creation I produced with the composer Paul Ramage and the director Nathalie Salles for the emission Creation On Air of France Culture (a French public radio) in february 2017

We made a double travel book Japan, we shared each one part
1. Paul Ramage, Tokyo: The Infinite City (Image, Language)
2. Paul Ramage, Osaka: The New World (interiority, intimacy)
3. Paul Ramage, Kyoto: towards the center of a world (speech does not exist)
4. Paul Ramage, Tokyo: Downtown, empty center
Transition: Vincent Laubeuf, A tour to Kushiro (hokkaïdo)
5. Vincent Laubeuf, Tokyo: a changing world
6. Vincent Laubeuf, Osaka: The Japanese are not all in costume!
7. Vincent Laubeuf, Kyoto: Ceremonies everywhere!
8. Vincent Laubeuf, Hiroshima: Catastrophes … Miyajima: Suspended …
The journey takes place in the footsteps of the person who lives it, but can also be read as a notebook, in a broken way according to associations, swings and curls. These obey both real and imaginary guests, decoded interiors, open in constellations of colors and perceptions.
On returning from a concert tour that we did in Japan in February and March 2016, Paul Ramage and I wanted to share a two-sided notebook, like a book that would read both ways, and that would give To see or to hear two perceptions of the same trajectory.
This notebook is a representation in hollow of the singular experience and the interiority of the us.
In these two moments, side by side, sound landscapes recorded on the spot, more abstract electroacoustic music as well as the testimonies of two Japanese women who shared a time this trip:
– the sonorous landscapes are reconstructed by the assembly and the mixing to give, in an exacerbated way, the sensations perceived on the spot;
– Electroacoustic music sometimes represents the interiority of the traveler, sometimes become a musical gesture, crystallizing emotions;
– Yumi Fujitani and Kumi Iwase, who have lived in Paris for a long time, tell us about their country of origin, evoke memories, images, and, with the distance, their perceptions of the evolution of Japanese society …
to hear this work: