The first series comprises six related movements, usually organised in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances brings into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources. Here, ‘incidents’ are opposed to one-off ‘accidents’ in the second movement: Accidents/Harmoniques (Accidents/Harmonics). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap. Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. Géologie sonore (Sound Geology) is similar to a flight over an area where different ‘sound’ layers come to the surface one after the other. When seen from high above, instrumental and electronic sounds seem to fuse … Dynamique de la resonance (Dynamics of Resonance) is a microphonic exploration of a single sound resonating through different forms of percussion. L’Etude élastique (Elastic Study) places together various sounds produced by ‘touching’ elastic or instrumental skins (baloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this ‘touch’, using electronic processes to generate white noise. Conjugaison du timbre (Conjugated Tone), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. “The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. Incidences/battements (Incidences/Beatings) is a reminder of the first movement in the first series which then quickly moves into Natures éphémères (Ephemeral Natures): ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. Matières induites (Induced Matters): just as molecular effervescence triggers a changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes. In Ondes croisées (Crossed Waves), the pizz vibrations interfere with somehow ‘visible’ water drops on the surface of a similar material. Pleins et déliés (Downstrokes and Upstrokes) can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow ‘bubbles’ and points bring together some people’s gravity and others’ downwards movements. The work finishes with Points contre champs (Reverse Angle Points). Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle – and the chanted sound – to grow.
“Allégeance Volatile” and “Esquive” each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called “repetitive” music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open. The rustic drumming of “Allégeance”, talkative, acidulous, colorful, and over-articulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of “Esquive” with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency. This is, indeed, a “volatile allegiance” and “avoidance” from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer. He returns with another title: “Contrée”, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses, and points emerges. “Something” rises and presents itself out of the sounds — these escaping beings, these “relatively short combustion flames” (Schaeffer). The piece consists of five consecutive and uninterrupted parts: “Entrée” and “Stance I” — “Véhémence De L’air” and “Stance II” — “Grande Allure”. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last. “Contrée” is dedicated to Philippe Mion, whose friendly ears have been entrusted with my music for so many years.
“Music Promenade” (1964-1969): Electroacoustic Music, world premiere for the Théâtre de la musique, March 16, 1970 “Hétéro-Concert”. Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl. The “Installation” version is used to sonify a place in which walkers are free to choose their musical itinerary.