Nicolas Vérin
| Nicolas | Vérin |
Sheet music for Nicolas Verin
Etoile filante III
Saxophone
Composed by Nicolas Verin. Classical: 20th Century (Contemporary). Score. 3 pages. Editions Jobert #JJ2249. Published by Editions Jobert (LM.JJ2249).
Chasse-Croise III
2 violins
Composed by Nicolas Verin. Classical: 20th Century (Contemporary). Score. 12 pages. Editions Jobert #JJ12313. Published by Editions Jobert (LM.JJ12313).
Petites Variations
Piano - Level 5
Composed by Nicolas Verin. Classical: 20th Century (Contemporary). Score. 13 pages. Editions Jobert #JJ18469. Published by Editions Jobert (LM.JJ18469).
Projections Obliques III
Flute and clarinet
Composed by Nicolas Verin. Classical: 20th Century (Contemporary). Score. 23 pages. Editions Jobert #JJ19688. Published by Editions Jobert (LM.JJ19688).
Chasse-Croise II
Violin and piano
Composed by Nicolas Verin. Classical: 20th Century (Contemporary). Score. 23 pages. Editions Jobert #JJ14294. Published by Editions Jobert (LM.JJ14294).
Mariposa Clavada Que Medita Su Vuelo
Flute and electronics
Composed by Nicolas Verin. Classical: 20th Century (Contemporary). Score and CD. 22 pages. Editions Jobert #JJ15093. Published by Editions Jobert (LM.JJ15093).
- Opus 1 — Déchirures (12’ — 1979) elecronics (four tracks fixed sounds)
- Opus 2 — Danses folles et sauvages (16’ — 1980) for electronics and dancers
- Opus 3 — Piano cru, piano cuit (10’ — 1981) for electronics and dancers
- Opus 4 — Solo violin piece I (7’ — 1981)
- Opus 5a — Quintette à vent n° 1 (4’ — 1981) for flute, ooe, clarinet, French horn, bassoon and optional electronics
- Opus 5b — Quintette de cuivres (4’) for 2 trumpets, French horn, trombone and tuba
- Opus 6 — Douze exercices de style (22’ — 1982) electronic fixed sounds
- Opus 7 — Pleine Lune (26’ — 1982) for electronics (four tracks fixed sounds) and projected images by Dominique Piolet and Nicolas Vérin
- Opus 8 — Solo violin piece II (6’ — 1983)
- Opus 9 — Duo (18 à 24’ — 1983) for contrabass and electronics (2 times four-track, with live mixing)
- Opus 10 — Solo (8’ — 1984) electronics (eight tracks fixed sounds to be mixed live)
- Opus 10c — Solo III (7’ — 1998) electronics (eight tracks fixed sounds to be mixed live)
- Opus 11 — Inviron (3 hours — 1984) environmental piece of elecronic music co-written with Igor Korneitchouk and Victor Zupanc
- Opus 12 — Petites variations pour piano (10’ – 1985-2004)
- Opus 13 - Une nouvelle demeure pour Picasso, music (20’) for the documentary film (52’) by Edmond Agabra (1985)
- Opus 14 — Cirios (12’ — 1986) for 14 instruments (picc, fl, cl/b. cl. b, t. sax, trpt, 2 trb, el. guit, synth, perc, vn, viola, vc. and cb.)
- Opus 15 — La lueur et la fumée (1 hour –1986-1993) musical theatre for actor, synthesizer and 10 tracks of fixed sounds to be mixed live on texts adapted from Charles Baudelaire’s Spleen de Paris
- Opus 16 — Suite pour Minnie (18’ — 1986) for wind ensemble (20 musicians)
- Opus 17 — Retornelo (8’ — 1987) for wind quintet
- Opus 18 — Ombres chinoises (18’ — 1988) for non-professonial instrumental ensemble (2/2/0/0 1/0/0 4/4/3/2/1 or more)
- Opus 19 — Miroirs Déformants (11’ — 1988) for oboe and electronics (four tracks fixed sounds)
- Opus 19c — Espejito (7’) for solo oboe
- Opus 20 — Péripéties (14’30 – 1989 – rév. 1995) for four
flutes - Opus 21 — Tulipes aquatiques (5’ — 1990) music for the art film by Unglee
- Opus 22 — Rhapsodie parisienne (28’ — 1990) radiophonic piece (two-track tape) with Jean Dautremay, voice, Jean Pierlot, percussion, Nicolas Vérin, synthesizer
- Opus 23 — Projections obliques (23’ –1991) for solo flute and clarinet, live electronics and ensemble (Midi keyboard, tpt, trb, perc., vn, cb)
- Opus 24 — Métalmorphose (16’ — 1990) for percussion and electronics
- Opus 24b — Transe métal (11’20 — 1995) for fixed sounds
- Opus 25 — Courant statique (9’40 — 1991)for fixed sounds
- Opus 25b — De très près ou de très loin… (9’45 — 2001) for fixed sounds
- Opus 26a — Chassé-croisé Ia (8’ — 1991) for clarinet (+ bass cl.) and viola
- Opus 26b — Chassé-croisé Ib (8’ — 1996) for clarinet (+ bass cl.) and cello
- Opus 26c — Chassé-croisé Ic (8’ — 1998) for clarinet (+ basset horn) and viola
- Opus 27 — In vino musica (19’ — 1992) electronics (four tracks fixed sounds) with optional wine-tasting installation
- Opus 28 — Vibrations électriques (8’30 – 1994) for MIDI vibraphone and electronics
- Opus 29 — Instabile (17’ – 1992, rév. 1996) for ensemble (fl, oboe, cl/b. clar, F horn, 2 perc., pno/el. kbd., vn, vc) and live electronics
- Opus 30a — Circuitio (18’ — 1993) for saxophone (barytone and alto), percussion and Quatron synthesizer
- Opus 30b — Quatre à quatre ... (28’ — 1994) for flute (+ picc. + bass) saxophone (barytone and alto), percussion and Quatron synthesizer
- Opus 31 — Oui ? (30" — 1994), for soprano, clarinet, percussion, 2 pianos, and cello
- Opus 32a — Di un temporale... (22’ — 1994)for orchestra (2 fl (+ picc + alto fl), 2 oboe (+ E.H.), 2 cl (+ b. cl.), 1 bn, 1 cbn, 2 F. H. , 2 tpt, 1 tbn, 1 tuba, 2 perc, 1 hrp, strings (min. 6/6/4/4/3) and electronics
- Opus 32b — Temporale che non c’è (17’30) for orchestra (2 fl (+ picc + alto fl), 2 oboe (+ E.H.), 2 cl (+ b. cl.), 1 bn, 1 cbn, 2 F. H. , 2 tpt, 1 tbn, 1 tuba, 2 perc, 1 hrp, strings (min. 8/6/4/4/3)
- Opus 33 — Suite en mouvement (12’ — 1995) 3 pieces for clarinets and electronics, for students 1st to 3rd cycle
- Opus 34 — 11, avenue du Midi (13’ — 1995) radiophonic piece
- Opus 35 — una rosa... una rueda... (23’ — 1995) for speaker, ensemble (fl, 2 cl, sax, tpt, tb, perc) and electronics (four tracks fixed sounds), on Federico Garcia Lorca’s poem “Oda a Salvador Dali”
- Opus 36a — Mariposa clavada que medita su vuelo (17’ — 1996) for flute and electronics (four tracks fixed sounds)
- Opus 36b — Thyrcis (9’50 – 2002) for solo flute
- Opus 37 — La Maison de l’autre, stage music for Jean-François Toulorge’s play, staged by Georges Vérin (1996)
- Opus 38 — Chassé-croisé II (8’ — 1997) for violin and piano
- Opus 39a — Khamsin (20’ — 1997) for drum-kit and electronics (two tracks fixed sounds)
- Opus 39b — Samoûm (17’ — 1997) electronics (two tracks fixed sounds)
- Opus 40 — Chassé-croisé III (8’ — 1998) for two violins
- Opus 41 — Une lumière au dessus des vagues, stage music for Jean-François Toulorge’s play, staged by Georges Vérin (1998)
- Opus 42 — Bora (19’ — 1999) for saxophone (soprano and barytone) and electronics (two tracks fixed sounds)
- Opus 43 — Le Chat Botté, stage music for the play adapted and staged by Jean-Michel Lejeune (1999)
- Opus 44 — Chinook (18’ — 1999) for electric guitar and electronics (two tracks fixed sounds)
- Opus 45 — P’hioni (20’ — 2000)for contrabass and electronics (two tracks fixed sounds)
- Opus 46 — Madame Oyselle, stage music for Jean-François Toulorge’s play, staged by Georges Vérin (2001)
- Opus 47 — Solid Noid (25’ — 1992-2005) for Midi piano, Disklavier and live electronics
- Opus 48 — Vents du Monde (28’ — 1999–2003)for saxophone, electric guitar, contrabass, drum-kit and live electronics
- Opus 49 — Parties diverses (15’ – 2002–2004) concerto for Ondes Martenot and orchestra ings, dir. Laurent Goossaert
- Opus 50 — Chassé-croisé IV (10’ – 2004) for flute and percussion (vibraphone and 6 gongs)
- Opus 51 — Interleaved tracks (15’ – 2004) for bass clarinet and live electronics
- Opus 52 — Jardín de acero (26’ – 2007)for soprano, clarinet (also Eb and bass), percussion, piano, violin and cello
- Opus 53 — Impulsions (15’ – 2008) 3 pieces for strings and electronics, for students 1st to 3rd cycle
- Opus 54 — Trois études d’espace (19’30 – 2009) electronics (eight tracks fixed sounds)
Within contemporary music, Nicolas Vérin’s voice appears original and unusual.
First a guitarist in his own pop music band at the age of thirteen, then a jazz pianist, he studied physics and musicology at the University, music at Conservatories in St-Maur, Brest and Paris (with Pierre Schaeffer and Guy Reibel) and finally spend five years at the University of California where he earned a PhD of composition, studying in particular with Roger Reynolds.
Captivated by the musical gesture and the life of sounds, he explores in a singular manner a fascination for time and its complexity.
He draws into this large open field a plurality of languages, a synthesis beyond dogmas and trends, that nourishes his inspiration.
Nicolas Vérin received commissions from the French Ministry of Culture, Radio-France, INA-GRM, and several festivals. He was composer in residence in the Midi-Pyrénées region and was awarded the prize Villa Médicis hors les murs. His music, published by Editions Jobert, has been performed and broadcasted worldwide.
Several of his pieces are available on CD:
- Miroirs déformants (Pilar Fontalba, oboe), Métalmorphose (Gérard Siracusa, percussion), Mariposa clavada que medita su vuelo (Cécile Daroux, flute) and P’hioni (Jean-Paul Céléa, contrabass) on 4 pieces for soloist and tape (INA-GRM)
- Chassé-croisé I and II, Variations pour piano, Thyrcis, Espejito, Solo Violin piece II, and Péripéties performed by Cécile Daroux, Nathalie Vandebeulque, Anne Arrignon, Sona Khochafian, Nathalie Chabot and others on Chassé-croisés (NVCD 0301)
- In vino musica in Musique des vignes, GMEA MP01 (distr. Métamkine)
- Solo Violin Piece I in Dedications to János Négyesy, Neuma 450-95
- 11, avenue du Midi in Hörspiele 2, Prize in the competition by Radio-France/la Muse en Circuit (CD Radio France/la Muse en circuit 1995)
- Oui in Arrêts fréquents, 70 works under 30" performed by Ensemble Aleph, Vandœuvre 9813, distr. Disques Concord
- Solo III in Paysaginaire Concrètement, PAYSA9810, distr. Métamkine
- Chassé-croisé III in Contemporary Violin duets, by János Négyesy and Paiviki Nykter (AuCourants Records 0010-1)