« Through the questions that cross my generation, there is this particular feeling of excitement mixed with fear inherent in every great revolution.
The Machine — culmination of the knowledge that we as a species have accumulated — is colonizing every system, and therewith, each part of our physical world is digitalized. What we hear, watch, read, say, is in a digital format. Relationship we have with our friends, others and the outside world, are filtered by our screens.
We are wandering in digital landscapes.
From Interfaces to temporal windows opened on other realities, the present is continuously disrupted, and the space-time, copy-pasted.
Natural | Artificial
Organicity | Mecanicity
continuous Space | interrupted Time
are all concepts used in my last musical considerations. »
Paris-based composer, Samir Amarouch writes music equally inspired by composers such as Grisey, Sciarrino or Romitelli, by the electronic musicians such as Rashad Becker, Oval, or Mark Fell, and by traditional music, such as Gnawa music. Transcribing in the instrumental or vocal domain natural sounds (bird songs, wolves howling sound, or other soundscape) and artificial sounds (as synthetic sounds, vocoder, or others effects from electronic music), he develops a unique aesthetic querying our relationship with environment and technology.
He worked with the Ensemble InterContemporain, the Lucern Alumni Ensemble, The duet Xamp, the harpsichord player Orlando Bass, the conductor Simon Proust, Julien Leroy, InSolitus Ensemble, Vocalists 20.21., the german Mozaik Ensemble, and the symphonic orchestra Orchestre +. Current projects include a new work for Risonanze Erranti Ensemble at Gesellschaft für Neue Musik in february, and a piece for Ensemble for the Lucern Festival in August 2021.
Born in France in 1991, Samir Amarouch has just finished his Master Degree in composition and new technology (S. Gervasoni, L. Naón, Y. Maresz & O. Saladriguez’ class.) with unanimous congratulation of the jury at Conservatoire National Supérieur de Musique et de Danse de Paris. In 2019, he graduate with the highest mention from C. Ledoux’ analysis class. He studied classical guitar with J. Mathelin and J.-M. Zvellenreuther at Boulogne Billancourt Conservatoire (prix with unanimous congratulation of the jury in 2013), composition with Jean-Luc Hervé (prix with unanimous congratulation of the jury in 2015) and musicology in Paris Sorbonne University (Master in 2014). He had private lessons from T. Murail, W. Rihm, D. Amman, & P. Eötvös.
His work Ceux-là sont la nuit for harp, viola, flute won the Prize of Boulogne Billancourt in 2014. He is a recipient of the Meyer’s Fondation Grant. In 2019, a recognition award was granted to him by the french fine arts Academy. In 2020, the Ernst Von Siemens Musikstiftung awarded him the Composition Prize. ■