Inés Thiebaut

 Composer / Theorist

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Hiraeth - for pno., vio., vlc., bass., 2 trb,. Performed by Nova Chamber Music Series, featuring Jason Hardink. Salk Lake City, Utah. April 25 2018. Live Recording.

Hiraeth mutates from a chamber sextet to a piano chamber concerto halfway through the piece. It is a humble homage to Bach, and his Brandenburg No.5, where the harpsichord emerges from within the texture of the concerto grosso and plays one of the very first extended solo keyboard passages of the genre. The piano in Hiraeth starts simply, facilitating the introduction of the rest of the ensemble. Yet as the piece progresses its energy and intensity starts dominating the texture until it becomes the constant heartbeat that governs the continuity of the music. The title is a Welsh word which is hard to translate into English. It roughly means deep longing, similar to the type of longing expressed in Portuguese Fados. The type of longing that resonates through this piece is not a longing for a physical place. It is the longing for a place that doesn’t truly exist, beyond the grasp of the music. I want to thank Jason Hardink and the rest of the ensemble for sharing their talent with me..

Sound Imagery No.5 - for vln., tape. Performered by Karen Kim. Willow Place Auditorium, Brooklyn. March 20 2015. Live Recording.

I learned from Mario Davidovsky’s music that gesture is as important an element in a work as are all the other traditional elements. I obviously couldn’t avoid his influence while writing this piece (nor I wanted to really). I was decided to explore gesture without the limitations of an acoustic ensemble with this work: the tape part (written out as five independent voices) is quite complex, and the violin sometimes leads, sometimes follows, sometimes silences...

Alcmaeon - for fl., vln., perc. Signal Gallery, The CUNY Gradute Center, NY. Performed by Cadillac Moon Ensemble, December 11 2014. Live Recording.

On interpretation - for fl., perc. Baisley Powell Elebash Recital Hall, The CUNY Gradute Center, NY. Performed by The Vigil Ensemble, April 10, 2013. Live Recording.

Written for amplified flute(s) (C, and Alto) and percussion, this duet explores the timbre possibilities of the pitched/unpitched sounds produced by both instrument families. The overall transformation (progression) from unpitched to pitched material is the main structural backbone of the work: the alto flute starts the work in it’s most percussive self, and as the wood percussion joins and takes over the unpitched material, the flute’s pitches slowly emerge, sometimes violently, as if trying to scape. The work ends with a C flute and vibraphone duo.

cuncta fluunt - for fl., sopr. Performed by Mary Hubbell and Alice Jones. Baisley Powell Elebash Recital Hall, The CUNY Gradute Center, NY. October 10th, 2013. Live Recording.

I am a big fan of Greek philosophy; cuncta fluunt’s text is pretty self-explanatory, and in Ovid’s words the concept of non-eternity is very beautifully explained. The use of Latin gave me a good excuse to explore the timbre possibilities of the voice, from a purely phonetically point of view. I take the opportunity here to thank Mary and Alice for exploring with me!

Ovid, Metamorphoses.
Book XV:176-198 "Pythagoras's Teachings: The Eternal Flux" Excerpt
Et quoniam magno feror aequore plenaque ventis
vela debi: nihil est toto, quod perstet, in orbe.
cuncta fluunt, omnisque vagans formatur imago;
ipsa quoque adsiduo labuntur tempora motu,
non secus ac flumen

[Since I have embarked on the wide ocean, and given full sails to the wind, I say there is nothing in the whole universe that persists.
Everything flows, and is formed as a fleeting image. Time itself also glides, in its continual motion, no differently than a river.]

De Anima - for perc. quartet. Centro Cultural Ollin Yolitzli, Mexico City. Festival Puentes. Premiered by Tambuco, November 18th, 2012. Live Recording.

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