Born in 1977 in Albertville (France), Gilles Dimanche begins at 7 years his musical learning with the practice of clarinet and the study of musical theory. Very early, he participated in various chamber music formations and gave many concerts in France and abroad over the years. In addition to instrumental practice, he studied composition, musical analysis and the history of music in Conservatory.
In parallel with his studies between 1997 and 2003, he completed his sound exploration between Lille and Paris using various instruments in contemporary music ensembles (Celtic Rock, World, Dixie Jazz) and symphony orchestras. It then composes for various media (short films, audiobooks).
A graduate of the conservatories of Annecy, then of Gennevilliers with first prizes in clarinet, bass clarinet (with Nicolas Baldeyrou) and chamber music, Gilles Dimanche later broadens his approach by also turning to improvisation and possible interactions with computer programming.
These different themes are found in the current projects of Gilles Dimanche:
From the meeting with the trio Aquilon, was released in 2011 a project to create a suite of pieces for flute, saxophone and organ. This project should lead to the creation of the pieces at the end of the first quarter of 2012. By then, a joint work with the musicians allows to adjust the stamps of the pieces as they are written in the acoustics of the Dax Cathedral.
Gilles Dimanche also pursues a more experimental project, a mixture of acousmatic music, Nujazz and electro. This project is based on an ever-increasing interaction between the acoustic instrument and the computer processing of sound. For this approach, Gilles Dimanche realizes and perfects his prototype hybrid instrument: a bass clarinet on which he embarks several types of sensors (cf. the section ABC4L-Project). Several pieces are the result of this process, including a cycle under construction: Miniatures for bass clarinet and computer interactions.
From acoustics to electro, searches
Gilles Dimanche has always nurtured his passion for music by surrounding himself with a multitude of instruments, which vibrate in turn according to the improvisations or the musical pages he writes: clarinet, bass clarinet, bandoneon, recorder, piano, guitars Acoustic and electric saxophone,…
But on this sound basis, his personal journey led him to mature his musical aesthetic initially classical to the clash of technologies and the acoustic violence of the current society. As he proves in his creations, his music does not escape the complexity of life, where emotions are superimposed and collide!
The undifferentiated use of noises and instruments is affirmed in its willingness to give an emotion independent of the usual musical language of the Listener (classical music, acousmatic, jazz, electro …). For example, one can find in the recurring use of industrial noises a heritage enriched by ten years in the transport and production workshops of a factory in the suburbs of Paris.
From this approach stems a willingness to focus on aesthetic and intuitive behaviour in the structuring of its sounds and pieces, rather than pushing the theorizing of computer programming at a stage where the sound result can no longer be Directly imagined. For G. Dimanche, electronics must be at the service of music without imposing limits or constraints. It is thus to a subtle balance between writing, programming, interactions and improvisations that he wishes to achieve without denying the principles dear to the classical composers.