The setup and the execution of the electroacoustic part of this work requires a Computer Music Designer (Max expert).
Version state: In progress

Documentation date: July 12, 2018
First performance
Performance date: May 19, 2017

Version documentalist

  • naves (

Version realisation

  • Bagnoli Luca (Sound engineer)
  • Sébastien Naves (Computer Music Designer)

Default work length:


A virtual soundcheck is available. Please contact production department of IRCAM :

No other version available

Detailed staff

  • 2 flûtes, 2 hautbois, 2 clarinettes, 2 bassons, 4 cors, 4 trompettes, 4 trombones, tuba, 5 percussionnistes, piano, harpe, 7 violons, 6 violons II, 5 altos, 4 violoncelles, 3 contrebasses
(Detailed staff comes from Brahms, send mail to for correction.)


  • May 19, 2017, Pologne, Wrocław, National Forum of Music, festival Musica Electronica Nova

Publisher :

  • PWM (Polskie Wydawnictwo Muzyczne)


  • Sébastien Naves
File Author(s) Comment
[195.5 KB] Performance documentation Sikora-SonosphereIII&IV-doc-v4-PWM.pdf Sebastien Naves for the publisher or the conductor
[1.7 MB] Document Sikora-SonosphereIII&IV-doc-v4.pdf Sebastien Naves
[39.3 MB] Score Sonosphere-III&IV-Score-RIM.pdf Sebastien Naves
[16.3 MB] Audio file(s) sonosphere-IV-fermata-stereo.wav Sebastien Naves for the conductor
[53.8 MB] Audio file(s) SonosphereIII&IV_Electro_Foyer_II_48K.wav Sebastien Naves Soundfile II for intrada (optional for extra time)
[226.4 MB] Audio file(s) SonosphereIII&IV_Electro_Foyer_I_48K.wav Sebastien Naves Soundfile I for intrada
[657.9 MB] Patch SonosphereIII_IV_Sikora_2017_v3.1.1.dmg Sebastien Naves not used
[899.3 MB] Patch SonosphereIII_IV_Sikora_Wroclaw2017_v2.3.dmg Sebastien Naves used for the premiere
[614.4 MB] Recording(s) Sonosphere_Live_Wroclaw_5-final.wav Sebastien Naves for the conductor
[209 bytes] Document Sonosphere_Live_Wroclaw_5-final_track_sheet.txt Sebastien Naves for the conductor
[2.1 GB] Simulation files Sonosphère simul-maquette v8.4.dmg Sebastien Naves Protools 11 session (v11.3.1)
[1.9 MB] Technical rider TechRider-Sikora-Sonosphere.pdf Sebastien Naves


07-11-2018 version (Sikora-SonosphereIII&IV-doc-v4.pdf)

Sonosphère III&IV, Wroclaw Symphonie

Elzbieta SIKORA.

for orchestra and live electronic, 2017.

Commissions of Polish Ministry of Culture (Sonosphère III) and IRCAM (Sonosphère IV)

Premiere in Wroclaw, National Forum of Music (NFM), may 19th 2017, 8th Musica Electronica Nova festival.

Performed by NFM Wroclaw Symphonic Orchestra.

Conducted by David Fulmer.

Computer music designer, Sébastien NAVES (IRCAM).

Sound engineer, Luca BAGNOLI (IRCAM).

Description :

It is a piece for orchestra and electronic which is performed by a keyboard player who trigger each electronic musical events. Important, 2 trumpets (Tr. 3, Tr. 4), 2 horns (Cor. 3, Cor. 4) , 2 trombones (Tbn. 3, Tbn. 4) and 2 percussions (Batt. 4, Batt. 5) are spread in the venue arround the audience area (on balconies or stairs…) according to the conductor.


Sonosphère III - Intrada (acoustic ~4' + electro-acoustic tape ~13') 15'~17':

In the « foyer » of the concert hall, performed before and during the start of the entrance of the audience by 2 trumpets (Tr. 3, Tr. 4), 2 horns (Cor. 3, Cor. 4) , 2 trombones (Tbn. 3, Tbn. 4) and a tape (soundfile called « SonosphereIII&IV_Electro_Foyer_I_48K.wav » @48Hz, duration 13'36sec). A setup of a stereo PA is needed to perform the tape which is triggered by a technician (other than the sound engineer in the venue) on bar 108. The doors of the venue open during the tape part reaching the last minutes of its duration. The technical schedule has to be adapted according to the mood.

Note that the musicians have to reach the concert hall when they have finished.

If the time needed for the entrance of the audience lasts more than the soundfile (13'36sec) you can also play the second soundfile available and called « SonosphereIII&IV_Electro_Foyer_II_48K.wav » (@48Hz, duration 3'14sec).

Sonosphère III – Prelude (acoustic) 7'~10' :

In the concert hall, orchestra starts just before the doors open. The five first bars are repeated during the entrance of the audience. The light is soft on stage and on the public. Then, on his/her impression of the atmosphere or on the rise of the light, the conductor starts « A ».

Sonosphère III – I, II & Sonosphère IV (acoustic + live electronic) ~20':

The sound of the following instruments is transformed in real time during the performance :

flute 1, oboe 1, trumpet 1, harpe, piano, violin I.1, xylorimba.

The following instruments have to be distributed spatially in the concert hall (on balconies and on sides if possible) : trumpets 3, 4 (Tr. 3, Tr. 4), horns 3, 4 (Cor. 3, Cor. 4) , trombones 3, 4 (Tbn. 3, Tbn. 4) and percussions 4, 5 (Batt. 4, Batt. 5). In other words, the brasses playing previously in the foyer and two extra percussions.

A keyboard player (the instrument must be a master keyboard with midi out, 88 notes and piano keys) plays a chromatic phrase to trigger the electronic score. He/she must be as sharp as possible regarding the perfect timing and synchronisation simplicity.

Acoustic recommandations:

The foyer can have a generous reverberation.

The concert hall, as often, can have a relative reverberation time but much less generous than the foyer.

Technical requirements :

One Macbook Pro retina as precised later with Max 7.3.3 installed.

One soundcard with 8 inputs and 8 outputs connected to a mixing desk (see sound rider for details).

One midi interface 2IN/2OUT.

One external controler like a BCF2000 from Behringer.

Live Electronic, Max/MSP patches :

As mentioned previously, the live electronic is triggered by a performer who plays an 88 keys master keyboard (midi out). He/she must be as sharp as possible regarding the simplicity of the score (chromatic phrases).

Computer setup :



Midi set up :

audio & midi configuration app. from Mac osX.


Midi Master Keyboard on stage and BCF2000 midi controler from Behringer.

IMG_1581 IMG_1579

These keys are used for rehearsals.


A-1 = 21 = stop all sounds and treatments and init

C0 = 24 = load the score of mvt1 (Sonosphère III- I)

D0 = 26 = load the score of mvt2 (Sonosphère III- II)

E0 = 28 = load the score of mvt2 (Sonosphère IV)

Audio configuration :

Inputs : 7 adcs (adc~ : violin I.1, flute 1, oboe 1, trumpet 1, harpe, piano, Xylorimba).

Outputs : 8 dacs (dac~ : Loudspeakers 1 to 6, monitor circuit for the keyboard player, monitor circuit for the conductor).

Max patch : SonosphereIII&IV.Sikora-v3.1.maxpat

First, launch Max 7.3.3 and check that max audio engine is pointing on an appropriate audio interface : menu/Options/Audio Status...


Then, launch SonosphereIII&IV.Sikora-v3.1.maxpat.


The extra application is automatically lauched and communicate with the main patch through UDP (ports 32896 and 32897 are used). Just check that the app. is pointing on the same audio interface than max (step 1). All the soundfiles are loaded from the folder « soundfiles » included in the main folder. You can load the soundfile folder by clicking on « open soundfiles folder » if needed.



Back to the max patch main window :


1- select the external Midi Master Keyboard that you have previously declared in audio & midi configuration app. « Bang » to refresh the list.

2- select the external Midi fader controller that you have previously declared in audio & midi configuration app. « Bang » to refresh the list.

3- open the I/O VIEWER window :

All the rotative level slider are assignable to an external controler like a BCF2000 from behringer.


adc~ (WdB, Gc, Tam, Cymb, FlexRag are not used)

dac~ (Main = outputs 1 to 6), MonK = output 7, MonC = output 8

FX area


Click and assign an external controller. Click on 0 and assign an external button to reset fader to 0dB
4- open the MIDI window : MIDI Midi Master Keyboard : you can select an external midi keyboard (like the Main window) and check that it is received. External Controler : you can select en external controler like a BCF2000 from behringer. By default you can configure a BCF2000 by pessing start (sysex dump) or your own by previously pressing read. If needed you can upload and record the setup of your own midi controler by pressing record and save it (by pressing write). Note :
Selection of the external controler save the midi setup between sliders of Max and faders of the external controler (file : ~/controler/myinitfadercontroler in the main folder). Init config : load myinitfadercontroler file. save config : save myinitfadercontroler file. Clear config : erase the datas of myinitfadercontroler file. Max dsp control : the data stream of controler is optimized in signal and synchronized with audio. active feedback : each action on sliders of Max are sent to the external controler.
IMPORTANT : to prevent from midi data loop between the controler and max checked that your external device (controler) is not in midi echo mode. If yes, unchecked « active feedback » to break the loop. For the BCF2000, set the engine in mode S4 (edit+store then rotative 1 called « type » to select). 5- INIT : Bang to init the patch. You can have a look on the initialisation patch by pressing « INIT » button under the Bang. 6- MIDI : active the midi in order the external midi master keyboard ton control the patch (through the score). 7- Turn on audio. By pressing ctrl and k keys you active the control of the patch with the keyboard of the computer. ctrlK
external : all objects and abstraction needed Soundfiles for Intrada : soundfiles that have to played in the foyer for the entrance of the audience in the hall. Controler : all datas that are used for the external controler Antescofo : all the scores load ine the antescofo engine. init : all the init.txt files loaded at the lauch of the patch. Soundfiles : all the soundfiles played during the piece by Score and Antescofo : Two antescofo engines are instanciated. One execute all the processes according to the score. The second one is dedicated to tempo detection. Have a look on the scores in the Antescofo folder. Virtual Sound Check : Available.

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This documentation is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Program note

Cette pièce en deux parties que j’ai composée entre 2016 et 2017, comme un adieu au festival MEN, n'a pas de véritable début, et sa fin rappelle paradoxalement son début inexistant. Je voulais changer l'ordre du concert habituel, et lancer la musique dès que le public entre dans le foyer du fantastique bâtiment du NFM - un bâtiment dont j'ai observé l'élévation dès le début des travaux de construction. La réalisation de cette pièce est également une entreprise pittoresque, où les musiciens et les auditeurs sont des acteurs. Le but est de diriger le public vers la salle de concert où la musique joue déjà - comme si elle avait toujours été là.
J'utilise à la fois le son traditionnel d'un orchestre, et de multiples transformations de celui-ci, grâce à l’ajout de sons électroniques composés séparément qui brouillent la distinction entre les deux premiers. La composition spatiale du son a été l'une de mes priorités, c'est pourquoi j'ai placé huit musiciens sur les balcons de la salle de concert et choisi une projection sonore à six canaux pour les sons composés électroniquement. Sonosphère III & IV comprend deux pièces distinctes qui peuvent être effectuées séparément, mais qui constituent également un certain ensemble cohérent. Sonosphère IV commence par une séquence d'instruments à vent semblable au non-début de Sonosphère III et se termine par une citation transformée de ce même début.
Dans le processus de création de Sonosphère IV, je suis revenue travailler le son à l'Ircam, après une pause de trente ans. Je tiens à remercier Frank Madlener qui m'a offert cette opportunité, et Sébastien Naves pour nos expériences et découvertes incroyablement créatives. Je remercie tout particulièrement le directeur Andrzej Kosendiak de m'avoir inspirée pour créer cette pièce.

Elżbieta Sikora.

Version documentation creation date: July 1, 2017, 3:03 p.m., update date: Aug. 14, 2018, 4:47 p.m.