1994

Chansons pour le corps (March 1988 – January 1994) — 40′

Songs for the body

For instrumental ensemble and singer

(1 singer, 2 clarinets, piano, synthetizer, percussion and stereophonic tapes)

Premiered : Paris SonMu INA-GRM March 18, 1995

(Elise Caron voice, Carol Mundinger and Sylvain Frydman clarinets, Michel Maurer piano, Michel Musseau synthetizer, Christine Lagniel percussion)

Chansons pour le corps  are made of two elements. A tape being may be like a symphony of interviews of women speaking about the body and an instrumental and sung composition, composed starting from texts of Colette Fellous.

Song-opera perhaps or Lieder-melody or sung melodrama or oratorio- ditty or aria, so many things pass through a labyrinth. These songs say eyes, hands and remainder of the body, their simplicity and their complexity.

Score available : Brunhild Ferrari

CD MODE 81

Portraits de femmes (January 1994) — ca. 80′

Feminine portraits

For singer, 2 clarinets, percussion, synthetizer, piano and two tape recorders

Premiered: Paris SonMu 95 INA-GRM March 18, 1995

(Elise Caron voice, Carol Mundinger and Sylvain Frydman clarinets, Michel Maurer piano, Michel Musseau synthetizer, Christine Lagniel percussion)

This score is the overlap in alternation of L’escalier des aveugles and Chansons pour le corps (see higher). Thus the addition of these two works constitutes a concert program.

Fable de la démission et du cendrier (February – June 1994) — 25′

Fable of resignation and ashtray

For two pianos and two clarinets

Premiered : Maison de Radio France, Festival Presences, February 3, 1995

(Christine Lagniel and Michel Maurer : piano, Carol Mundinger and Veronique Fèvre : clarinets)

«In 1982, I created an association. It joined together in a workshop, some musicians come from different skylines. We called it the Museen Circuit. 12 years later, I thought that it was time to let it live without me, that it was time for me to take again my freedom. This is why I resigned of my load of president. During the same time, exactly, I wrote a score for 2 pianos and 2 clarinets which followed all the adventures of this affair. I invented in the same time a formal process I called with a certain impertinence: Hyperserialism post-informatic! What is singular in this history is time, the spring, how is born the vegetation creating the ideas, how these ideas were found grouped in a same time and a same piece of music. In this sense it is a Fable.»

Salabert Editions

(*) Je courais tant de buts divers (August 1994) 

I was running in so many different directions

«Autobiographical text telling part of my life which could represent the first chapter of a book of memories if however I have courage to write it.»

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