Ensemble Inverspace is willing to share and improve their knowledge, playing techniques and other specialities with musicians, composers and people interested about contemporary music as much as possible. This is why they propose to present workshops aside concerts.
About the use of electronics as part of chamber music ensemble
One of the most asked questions by composers about the ensemble is What do you do with the electronics as a part of the ensemble and how should I write for it?
Indeed, all other instruments are now well integrated in comtemporary music, but the use of electronics isn't that abvious. Of course, electronics have been used since many decades, with well known composers such as Stockhausen and Pierre Boulez, but the main interest of using what we call live electronics was mostly to change the sound characteristics of an instrument with the use of effects like delays and filters, and to spatialise the sound in a room with the use of many loudspeakers placed around the audience.
Robert Torche has and is still developing his own electronic instruments. He mainly uses a software called Max/MSP to build all kinds of digital synthesizers, samplers and effects. To control those instruments programmed on computer, he regularly builds his own controlers - the one he mostly uses in performance is made out of a tennis ball.
Robert is also very interested in the use of (crazy) analog machines. From modular synthesizers to feedback controled through circuit bending and even living instruments, every method to make noisy aproximatively controled sounds brings him to a big happiness! ...But this still doesn't awnser at the question ¨how to notate it?¨
The use of electronic music as part of an ensemble began for Robert with free improvisation. It is to develop his instruments and his playing methods that he made a Master degree in free improvisation in Basel. This brought him a lot in terms of developing his way of listening and interacting with other musicians. He learned in this sense to use his instruments as a part of an ensemble, like any chamber ensemble - just more flexible. When a composer is writing for ensemble Inverspace, the best way to deal with the electronic part is to meet Robert, to exchange ideas and to build a new notation, working for the instrument and in the idea of the composition. This is for example what Fred Frith did for his work Calle Calle, composed for ensemble Inverspace. In this piece, the electronic in written in a graphic way, in parallel to the other instruments notated in a classical way.