PARIS – TOKYO – PARIS (January – November 2002)
Commissioned by New Generation, Tokyo
Sextet for Oboe, Clarinet in B, Bassoon, Violin, Violoncello, piano and Memorized Sounds
The concept of this piece is exploitation between a gestural spontaneousness and a reflection, between the immediate and the deferred.
And I will try to explain all that.
I first improvised during 20 minutes on a digital keyboard. Then I made another 20 minutes improvisation. Use of real-time.
After that I assembled, superimposed, cut up and corrected the two improvisations, while respecting the chronology. Use of deferred time.
I got out the notes on the printer and got a score of 60 pages.
I made use of this score to write this composition, by taking ideas being there, by transforming them, by developing them, by adding to the dryness of the printer a new spontaneousness, while respecting the chronology of the improvisation, thus by taking distance by the reflection.
What’s more, I was in Japan, Tokyo for the first time in January 2002.
I recorded plenty of things, which I found ordinary enough to interest me. I recorded real-time spontaneously.
Back in Paris, in my studio that I call Atelier post-billig, I worked on these recorded sounds. One can thus say that this work occurs deferred.
I chose, I assembled, I transformed while preserving their realistic identity.
If there were a “philosophy” to draw from all that, so because it is about a combination which enabled me to work on a piece of time, with all that contains of pain and pleasure (sensuality), and then to visit this time with all the time necessary for the reflection to operate.
I respected the form coming from the body (from the improvisation).
Premiered at Tokyo, on October 26, 2003
Premiered in France TRI POSTAL Friday October 8, 2004, Lille by Ars Nova
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