From the NEM Forum to Ravel: Creations, Synesthesia, and Research Perspectives

This afternoon, I had the pleasure of attending the Composition Forum of the Nouvel Ensemble Moderne (NEM) at the Faculty of Music, University of Montreal. A leader in its field, NEM stands out for its excellence and its resolutely modern approach, both in the interpretation and creation of works from the 20th and 21st centuries.

On the program: an overview of the ensemble’s history and listening to excerpts of contemporary compositions, including several glissandi and innovative orchestral textures that push the boundaries of today’s musical language. The presentations addressed the relationship between sound and image, sound thinking, the concept of “attached cinema,” as well as the idea of “new orchestration,” illustrated, among others, by an excerpt from For the Time Being (1999) by Brian Current, highlighting particularly inventive writing and arranging. The discussions also touched on the integration of scientific knowledge and the multiplicity of communication modes, notably through editing.

I particularly appreciated Tom Lachance’s presentation on synesthesia, where he explores the interaction between tactile, visual, and auditory sensations. This brought me back to my own research conducted during the Extended Cinema course at Concordia University, inspired by Gene Youngblood. The meeting concluded with a clear discussion on the material and financial challenges affecting contemporary creation.

Building on this reflection, I continue to develop a project that has been close to me since my master’s studies: the connections between music, cinema, literature, and visual arts during the Belle Époque in France. I also address the notion of synesthesia, as well as the possible articulations between impressionist music and avant-garde silent cinema, or poetic realism.

The work of Jacques Aumont (L’Œil interminable), which I am currently reading, on the relationships between painting and cinema, as well as David Bordwell’s thesis on impressionist cinema, serve as reference points, although the musical dimension is often marginal in these studies. On the occasion of Maurice Ravel’s 150th anniversary, I am currently focusing on his life and work while also considering expanding to other composers of the same period.

My research interests notably include:

• The links between impressionist music and cinema,

• The influence of early 20th-century French composers (Ravel, Debussy, Lili Boulanger, Germaine Tailleferre, Louis Aubert, etc.),

• And innovative filmmakers such as Jean Epstein, Abel Gance, Germaine Dulac, and Louis Delluc. I am also interested in cine-concerts dedicated to French silent cinema, a field that has fascinated me for a long time.

To conclude this rich day, I took a moment at the University of Montreal’s public piano to perform an excerpt from Pavane for a Dead Princess. The orchestral version remains equally sublime. A new recording has just been released: the Orchestre National de France included it in their album Ravel Paris 2025, alongside other remarkable works.

With a special thought for Les Amis de Maurice Ravel.