Karim Haddad
Lebanese composer born 22 January 1962.
Karim Haddad was born in Beirut, Lebanon, in 1962. He studied at the National Conservatory of Beirut until 1975, when it was shuttered by the civil war. He then studied philosophy and literature in the American University of Beirut.
In 1982, he left Beirut for Paris, France, where he earned six prizes from the Conservatoire de Paris (CNSMDP) as well as an advanced degree in composition with honors. He worked, among others, with Alain Bancquart, Paul Mefano, and Klaus Huber. This period of learning was marked by an intense interest in non-tempered spaces and their strong relationships with temporal poetics. In 1992 and 1994, he received fellowships for study at the Ferienkursen für Musik in Darmstadt. In 1995, he participated in IRCAM’s computer music course (Cursus), and from that time has used only computer tools to create his pieces.
A commission from Radio France for Noch eins ist aber zu sagen…, a piece for two sopranos, instrumental ensemble, and electronics, for a Hölderlin poem, was premiered in a performance by the Orchestre Philharmonique de Radio-France and was the first piece in a cycle devoted to the German poet’s work, titled Das Werden im Vergehen (becoming in passing).
An expert in the field of computer music, particularly computer-assisted composition, he was named head of the technical support for the IRCAM Forum in 2000. He has developed several tools for the Open Music environment (controlling synthesis in Csound) as well as interfaces between this environment and the music notation programs Finale and Lilypond.
His work has been performed by soloists in the Itinéraire and 2e2m ensembles, the Diotima quartet, the Orchestre philharmonique de Radio-France, the Berlin Staatsoper, the SIC ensemble, and the Futurs-Musiques instrumental ensemble, in a variety of festivals including Présences de Radio-France, the Lucero Festival, the Rencontres Musicales de la Fondation Gulbenkian, and IRCAM’s Agora festival.
© Ircam-Centre Pompidou, 2011
- Solo (excluding voice)
- '47 lat. Nord, 3 long. Ouest' for solo piano (1990), 6 mn, Inédit
- 'Lang ist das Leben...' for solo piano (1990), 13 mn, Inédit
- Was ist das -"ist"? for solo violin (1994), 17 mn, Inédit
- Double Paysage solo flute version (1995), 7 mn, Inédit
- elec Ce qui dort dans l'ombre sacrée In memoriam Nada Adib Haddad, for double bass and live electronics (1996), 7 mn 30 s, Inédit [program note]
- Die Gipfel der Zeit for solo violin (1997), 15 mn, Inédit
- Tales for tomorrow for solo percussion (1998), 7 mn, Inédit
- Exiles for alto flute (1999), 5 mn, Inédit
- ... and the leaves are full of voices ... for solo violin (2001), 11 mn, Inédit
- Andenken for solo violin (2007), 12 mn, Inédit
- Phusis kruptestai philei for solo violin (2008), 5 mn, Inédit
- Purple Cloud on the Edge of the Invisible Sea for theorbo (2008), 6 mn, Inédit
- And the days are not full enough for double bass (2012), 6 mn
- increscunt animi, virescit volnere virtus for electric guitar (2012), 7 mn 30 s
- Chamber music
- Des ciels gris de cristal for four instruments (1992), 12 mn, Inédit
- Double Paysage version for four flutes (1996), 7 mn, Inédit
- ... and I have tried to keep them from falling for string trio (2001), 5 mn, Inédit
- elec No one to speak their names (now that they are gone) for two bass clarinets, string trio and electronics (2001), 11 mn, Inédit
- elec No one to speak their names (now that they are gone) for electric guitar, string trio and electronics (2001), 11 mn, Inédit
- elec In lieblicher Blaue... for double bass, bass saxophone and electronics (2003), 7 mn, Inédit
- elec "Tal vez tenemos tiempo" for four instruments and electronics (2004), 17 mn, Inédit
- Adagio for string quartet string quartet (2004), 5 mn, Inédit
- ...Wo wollen wir bleiben ?... In memoriam Mahmoud Darwich, for string quintet (2009), Inédit
- elec Alles ist innig for crystal Baschet, violin, cello and tape (2010), 40 mn, Inédit
- elec Suite for blue harp, percussion and tape (2010), 15 mn, Inédit
- And the sacred tree is dead for alto saxophone and piano (2011), 4 mn
- Instrumental ensemble music
- "...et..." for orchestra (1994), 12 mn, Inédit
- Rumeurs d'étoiles for cello octet (1994), 13 mn, Inédit
- Innere Ferne for four instruments (1995), 2 mn 30 s, Inédit
- Something always remains for bass flute, two violins and bass drum (1998), 15 mn, Inédit
- elec "...und wozu Dichter in durftiger Zeit?..." for twelve instruments and electronics (2003), 15 mn
- Concertant music
- I can only say, there we have been: but I cannot say where for double bass and instrumental ensemble (1999), 13 mn
- Wo Honig rinnt aus hohler Eich' und leicht Gewässer rauscht von Bergeshöhn for harp and string orchestra (2010), 15 mn, Inédit
- Vocal music and instrument(s)
- elec In te anime meus tempora metior for mezzo-soprano, horn, electric guitar, double bass, bass drum and electronics (1998), 13 mn, Inédit
- elec Noch eins ist aber zu sagen... for two sopranos, five instruments, string orchestra and electronics (1998), 33 mn, Inédit
- elec stage "First Attemped Escape from Silence: Tunnels" opening act of the opera Seven Attempted Escapes from Silence (2005), 16 mn, Inédit
- elec Meditatio I for mezzo-soprano, two percussionists and tape (2008), 10 mn, Inédit
- Wir sind die Treibenden for mezzo-soprano and flute ensemble (2008), 22 mn, Inédit
- Wir sind die Treibenden for mezzo-soprano and eight cellos (2008-2009), 22 mn, Inédit
- Im Arm der Götter wuchs ich groß for soprano and string quartet (2011), 12 mn
- A cappella vocal music
- Livre premier de motets for two to five voices (2007), 40 mn, Inédit
- elec Meditatio II for mezzo-soprano and tape (2011), 6 mn, Inédit
- Ficus Vitis for three equal voices or viols (2012), 2 mn 30 s
- Electronic music / fixed media / mechanical musical instruments
- elec La prédestination au labyrinthe ou de la tellurique de l'esprit for solo tape (1992), 9 mn, Inédit
- elec Ash-Wednesday for solo tape (1999), 7 mn 33 s, Inédit
- elec Unus dies par omni est for solo tape (1999), 34 mn, Inédit
- Menons Klagen um Diotima for tape and video by Netochka Nezvanova (2004), 10 mn, Inédit
- 2012
- And the days are not full enough for double bass, 6 mn
- Ficus Vitis for three equal voices or viols, 2 mn 30 s
- increscunt animi, virescit volnere virtus for electric guitar, 7 mn 30 s
- 2011
- And the sacred tree is dead for alto saxophone and piano, 4 mn
- Im Arm der Götter wuchs ich groß for soprano and string quartet, 12 mn
- elec Meditatio II for mezzo-soprano and tape, 6 mn, Inédit
- 2010
- elec Alles ist innig for crystal Baschet, violin, cello and tape, 40 mn, Inédit
- elec Suite for blue harp, percussion and tape, 15 mn, Inédit
- Wo Honig rinnt aus hohler Eich' und leicht Gewässer rauscht von Bergeshöhn for harp and string orchestra, 15 mn, Inédit
- 2009
- ...Wo wollen wir bleiben ?... In memoriam Mahmoud Darwich, for string quintet, Inédit
- Wir sind die Treibenden for mezzo-soprano and eight cellos, 22 mn, Inédit
- 2008
- elec Meditatio I for mezzo-soprano, two percussionists and tape, 10 mn, Inédit
- Phusis kruptestai philei for solo violin, 5 mn, Inédit
- Purple Cloud on the Edge of the Invisible Sea for theorbo, 6 mn, Inédit
- Wir sind die Treibenden for mezzo-soprano and flute ensemble, 22 mn, Inédit
- 2007
- Andenken for solo violin, 12 mn, Inédit
- Livre premier de motets for two to five voices, 40 mn, Inédit
- 2005
- elec stage "First Attemped Escape from Silence: Tunnels" opening act of the opera Seven Attempted Escapes from Silence, 16 mn, Inédit
- 2004
- elec "Tal vez tenemos tiempo" for four instruments and electronics, 17 mn, Inédit
- Adagio for string quartet string quartet, 5 mn, Inédit
- Menons Klagen um Diotima for tape and video by Netochka Nezvanova, 10 mn, Inédit
- 2003
- elec "...und wozu Dichter in durftiger Zeit?..." for twelve instruments and electronics, 15 mn
- elec In lieblicher Blaue... for double bass, bass saxophone and electronics, 7 mn, Inédit
- 2001
- ... and I have tried to keep them from falling for string trio, 5 mn, Inédit
- ... and the leaves are full of voices ... for solo violin, 11 mn, Inédit
- elec No one to speak their names (now that they are gone) for two bass clarinets, string trio and electronics, 11 mn, Inédit
- elec No one to speak their names (now that they are gone) for electric guitar, string trio and electronics, 11 mn, Inédit
- 1999
- elec Ash-Wednesday for solo tape, 7 mn 33 s, Inédit
- Exiles for alto flute, 5 mn, Inédit
- I can only say, there we have been: but I cannot say where for double bass and instrumental ensemble, 13 mn
- elec Unus dies par omni est for solo tape, 34 mn, Inédit
- 1998
- elec In te anime meus tempora metior for mezzo-soprano, horn, electric guitar, double bass, bass drum and electronics, 13 mn, Inédit
- elec Noch eins ist aber zu sagen... for two sopranos, five instruments, string orchestra and electronics, 33 mn, Inédit
- Something always remains for bass flute, two violins and bass drum, 15 mn, Inédit
- Tales for tomorrow for solo percussion, 7 mn, Inédit
- 1997
- Die Gipfel der Zeit for solo violin, 15 mn, Inédit
- 1996
- elec Ce qui dort dans l'ombre sacrée In memoriam Nada Adib Haddad, for double bass and live electronics, 7 mn 30 s, Inédit [program note]
- Double Paysage version for four flutes, 7 mn, Inédit
- 1995
- Double Paysage solo flute version, 7 mn, Inédit
- Innere Ferne for four instruments, 2 mn 30 s, Inédit
- 1994
- "...et..." for orchestra, 12 mn, Inédit
- Rumeurs d'étoiles for cello octet, 13 mn, Inédit
- Was ist das -"ist"? for solo violin, 17 mn, Inédit
- 1992
- Des ciels gris de cristal for four instruments, 12 mn, Inédit
- elec La prédestination au labyrinthe ou de la tellurique de l'esprit for solo tape, 9 mn, Inédit
- 1990
- '47 lat. Nord, 3 long. Ouest' for solo piano, 6 mn, Inédit
- 'Lang ist das Leben...' for solo piano, 13 mn, Inédit
Ecrits
- Carlos AGON, Karim HADDAD et Gérard ASSAYAG, Représentation et rendu de structures rythmique, JIM, 1999.
- Karim HADDAD, « TimeSculpt in OpenMusic », OM Composer’s book 1, Éditions Delatour, 2005.
- Karim HADDAD, « Livre Premier de Motets: The Concept of TimeBlocks in OpenMusic », OM Composer’s book 2, Éditions Delatour, 2008.
- Karim HADDAD, Le temps comme Territoire : pour une géographie temporelle, à paraître aux éditions de l’Harmattan.
Discographie
- Karim HADDAD, « …et… », dans Journée de la composition, Conservatoire de Paris, Cité de la musique, Sacem, 1994.
- Karim HADDAD, « Ce qui dort dans l’ombre sacrée »*,* dans Jean-Pierre Robert une contrebasse, un humain, Ame Son, 2008.
Lien Internet
- http://karimhaddad.org/ (lien vérifié en juin 2011).