A Japanese composer born February 2, 1972 in Niigata (Japan).
A pianist by training, Noriko Baba obtained a master’s degree in composition at the Fine Arts University of Tokyo (1998). She continued her apprenticeship in composition, orchestration, acoustics, analysis, ethnology and electroacoustics at the Paris Conservatory where, as a pupil of Paul Méfano, she obtained prizes for composition and orchestration.She also took advanced classes in her approach to electroacoustics as part of the composition and computer music course of Ircam (2003-2004).
Transcending the Japanese aesthetic and spiritual concept of Wabi-sabi and casting a gaze full of poetic nostalgia, Noriko Baba composes sensitive and expressive works with a certain economy of means. Aware of the fragile, unforced and delicate sound of early instruments, Baba takes inspiration from early music, though also from the Japanese musical tradition, notably of the nô theatre. In her compositions she recreates the noises of everyday life (footsteps, squeaks, creaking…), she hides often in playful manner nursery rhymes, using accessories and animal calls. She writes for all combinations, from solo instrument to orchestra: Ultrabaroque for viola da gamba, first performed by Marianne Muller at the Péniche Opéra of Paris (2008); Klartraum for orchestra, first performance by the Orchestre Pasdeloup (2010); AOI, Nôpéra for nô voices and instrumental ensemble, first performance by Ryoko Aoki and the ensemble 2e2m at the Maison de la Culture du Japon in Paris (2015); Doppio trio for recorder, viola da gamba, harpsichord, flute, cello and piano, commissioned by the French State and first performed by the soloists of the ensemble L’Itinéraire and students of the department of early music of the Paris Regional Conservatory (2016); Five workouts for organ with accessories, commissioned by Alla breve, first performance by Hampus Lindwall, (2017); Comptines for soprano, clarinet and piano, first French performance at the Cité Internationale Universitaire in Paris by the Trio Cocolaya (2018); Nié for string quartet, piano and electronics, co-commissioned by ProQuartet and the festival Musica, first performance by the Béla Quartet and Wilhem Latchoumia (2019).
