A project in cooperation with echoraum and Alcôme
Supported by Stadt Wien Kultur, BMKÖS, SKE austromechana, echoraum, ALCÔME, Sacem and Copie Privée



Luis Naón


Luis NAÓN was born in 1961, La Plata (Argentina). He undertook Musical studies at the National University of La Plata, Buenos Aires then at the Conservatoire National Supérieur de Musique in Paris with Guy Reilbel, Laurent Cuniot, Daniel Teruggi, Sergio Ortega and Horacio Vaggione. PhD in Esthétique, Science et Technologie des Arts at Paris 8.

Luis Naón is a Professor of Composition and Computer Music at the Conservatoire National Supérieur de Musique de Paris since 1991. He became a professor of Composition at The ESMuC – Escola Superior de Musica de Calunya (Barcelona) in 2002 and Professor in Electroacustics at the Haute Ecole de Musique de Genève since 2006.

From « Final del Juego » (for septuor and tape, premiered at Radio France in 1983), and which can be considered his first work, and since then, Luis Naón has been seeking to compose according to a dual relationship, inherited from his musical experience in electronics and from his bicultural identity.

His works have been played in prestigious auditoriums and festivals in Europe, America and Asia. They were distinguished by the UNESCO Rostrum in 1990 and 1996, the Buenos Aires town Prize in 1991 and in 1995. He won the SACEM’s « George Enesco Prize »in 2001 and the « Caja de Granada’s Luis de Narváez Prize

The « Urbana », a cycle of 24 works, was born a few years ago. It crystallizes under this title trough « Urbana » for accordion, percussion and real time premiered in Ircams’s festival Agora in 1998. This cycle consists of several stages whithin the chamber opera trough orchestral pieces. He composed for the opening of TAC (Theatre Auditorium Poitiers) the entire music for the « Princesses » a ballet, mainly choreographically conducted by Odile Azagury which includes many diferent works for electronics and instruments.

His most recent works, “Rastros”, “Geminis”, “EJE” and “String Quartett III” were premiered during 21/22 at Montréal, Santiago, Lugano and Geneva. He is now working on “Oruga”, (Rio Negro, Argnetina) for Marimba and orchestra, and “Fueye” (TM+ ensamble in France) for bandoneon and ensamble.

His works are edited by Henry Lemoine, Gérard Billaudot and BabelScores.

Lascaux Urbana (Urbana 2) 43’40 (2004)

Presented within Circuit Fantôme Season 1 Episode 2.

Commissioned by the French government — Premiered at Musiques Inventives in Annecy, Bonlieu Scène Nationale, 3 november 2004.

The work consists of 8 Canciones and 4 interludes. Each part has a dominant in the sense of colour, material and tempo. The recording work with the instrumentalists, harp, cello, bass clarinet and contrabass clarinet, are mingled with percussive sound bodies I recorded myself. Synthesis, very little exploited in this work, is confined to the use of physical models, rudimentary and in accordance with the initial idea of a musical universe at its origins. Voluntary, the instruments and the synthesis are here coarse or redirected.

The movements are:
  1. Percussions résonantes (4’30)
  2. Rauque – Gratté (4’20)
  3. Interlude I (2’08)
  4. Synthèse primitive (3’51)
  5. Interlude 2 Transition (1’18)
  6. Souffle resonant (4’32)
  7. Interlude 3 - Instrument étendu (2’48)
  8. Du Presque rien (5’10)
  9. Interlude 4 - Métaux frottés (2’08)
  10. A travers une harpe (3’11)
  11. Jeux rythmiques (5’05)
  12. Résonances lointaines (4’15)