| Installation: | LSD Centre |
|---|---|
| In collaboration with: | Kris Verdonck |
| Concept and composition: | Maxime Denuc |
| Scenography and light design: | Kris Verdonck |
| Organ building: | Tony Decap, Seppe Verbist |
| Organ pipes: | Manufacture d’orgues Thomas |
| Computer music programming: | Xavier Meeus (Centre Henri Pousseur) |
| Technical direction: | Harry Charlier |
| Light programming: | Daniel Romero Calderón |
| Technical stage manager: | Felix Petit |
| Management: | Pierre Templé |
| Production: | A Two Dogs Company (Brussels), Le Ring-Scène périphérique (Toulouse) |
| Co-production: | STUK (Leuven), KANAL-Centre Pompidou (Brussels), Le Lieu Unique (Nantes), Centre Henri Pousseur (Liége) |
| With the support of: | Fédération Wallonie-Bruxelles, Wallonie-Bruxelles International, DRAC Occitanie, Region Occitanie, SACEM |
| Note: | Italian premiere |
Music
Maxime Denuc - Elevations
Description
Born in France and based in Brussels, Maxime Denuc fuses the expressive richness and emotional power of the church organ with a contemporary electronic music sensibility, suspended between the euphoria of trance and techno music and the geometries of Baroque polyphonic music, in a synthesis that is poetically expressed in his latest album Nachthorn for MIDI-controlled organ. At the Biennale Musica 2025, Maxime Denuc presents the Italian premiere of Elevations, an installation that incorporates the inspiration of the dub techno aesthetic into the fragile ephemeral sound of an organ controlled by computer via MIDI 177 specifically created by the artist with Belgian organ-maker Tony Decap, and in collaboration with Kris Verdonck, who created the scenography and the light design. Featuring elements of harmonic repetition, cyclicity and subtle variations of the motifs typical of dub techno, Elevations draws inspiration from the melancholic post- rave atmosphere that lingers at the end of a party, when bodies relax and night transitions into day. Scheduled throughout the duration of the Festival, Elevations captures this moment of emotional and perceptive liminality, in an immersive sound and light installation that explores concepts of fluid time and caducity.