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City Research Online City Research Online City, University of London Institutional Repository Citation: Pace, I. (1997). Never to Be Naught. The Musical Times, 138(1857), pp. 17-20. This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/5421/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Neverto be naught IAN PACE exploresthe exciting, engaging and evolvingworld of Pascal Dusapin ASCALDUSAPIN is tosome extent an out- Indeed(1987) fortrombone; and In & out (1989) for sider,even withinhis home countryof double bass). The meaning(s) of the titlesprovide France. His work stands apart fromthe the initialinspiration for the works,which are then P Frenchmainstream, as epitomisedby Bou- predicated in part on the implications contained lez and thespectralists, not to mentionmore conser- therein. vative figuressuch as PhillipeManoury. Perfor- mancesof his musicin Britainhave been sporadic, one might today talk of a VTTILST so theforthcoming feature of his workat theHud- whole international'school' of com- dersfieldFestival provides an importantopportunity posers who have built upon the to assesshis careerto date. work of lannis Xenakis (such as Ivo Dusapin'swork has transformeditself frequently Malec, Julio Estrada, Francisco Guerrero,Richard since his earliestacknowledged compositions, yet Barrettand Chris Dench, to name but a few), Dusa- certainrecurrent preoccupations can be discerned. pin is the onlycomposer who Xenakisacknowledges An interestin instrumentalvirtuosity is oftenpre- as his student. From Xenakis, Dusapin derived an sent,as is theinfluence of jazz. However,though he understandingof the architectureof sound-masses was himselfonce a jazz pianist,Dusapin has stead- and an interestin mythical subjects. The earlier fastlyrefused to writefor the piano, until this year, works,such as the remarkableLa riviere(1979-80) whenhe composeda pianotrio, and has neverused fororchestra, demonstrate the influenceof the older percussioninstruments other than timpani (though figurein the dense, sprawlingorchestral terrain that he oftengives them highlyprominent roles in is presented.Yet this is not thewhole story:there are orchestralworks). He is also concernedwith a score occasional glimpses of more recognisablyFrench as a visualentity, so thata cursoryglance at thepage harmonyand orchestration,and Dusapin leads the can reveal,through graphic features, something of music towards a huge climax that resembles a howthe piece sounds, as in Assai(1981) fororches- derangedversion of an equivalentmoment in a late tra (ex.1). But more importantis his interestin romantic work. Over the course of the work, an exploringnew types of structures; they might better increasingfocus on gesturemoves the piece beyond he callednarratives, for even (or perhaps more so) in its initiallypredominant emphasis on pure texture. thelonger non-operatic works, one can sometimes Even more impressiveis L'aven(1980-81) for flute sensethat some underlying psychological trajectory and orchestra,which sees Dusapin respondingto the or ideologicalconception is beingexplored. impassioned nature of Xenakis. Here a initiallyfree Ifone mightspeak of Dusapin's 'style', however, it and improvisatoryflute part is contrastedwith the is hardlysomething that is self-consciouslyculti- monolithicsonorities of the orchestra.Towards the vated.He is essentiallya pragmatist; his worksare a end the flutebegins to provokesome reactionsfrom responseto particularcircumstances and players,in the orchestra,but thisprocess is soon thwartedby a particularthe members of theStrasbourg-based en- hammer-likeblow. Perhaps the most importantof sembleAccroche Note, who havepremiered a great Dusapin's early works, however is Fist (1982) for manypieces. The influenceof the clarinettistAr- eightplayers, which, like the earlierMusique captive mandAngster may have been a majorreason for the (1980) fornine winds, createsa searingand exhila- centralrole the clarinetplays in so muchof Dusa- ratingmusic thatresembles a formof freejazz, albeit pin'smusic. His vocal idioms demonstrate a real con- carefully controlled and consequently energised. cernfor the particular modes of inflection of the dif- This work hints in various place at an openness to ferentlanguages he uses, which include French, tonality,ending as it does on a Bb second inversion, German,English, Japanese, and theprovincial lan- with added eleventhand flattenedthirteenth. guage of Occitan.He is also fascinatedby word Through the sheer directness of their musical games,as demonstratedin his ongoingseries of solo material,these works have an immediacyof impact. pieces,the title of each of which begins with the let- But in Hop (1983-84) forfour groups of threeplay- ter'I' (e.g. If (1984) forclarinet, which the accom- ers,Dusapin began to concentrateto a greaterextent panyingnote describesas having 'une energie on audible processes and delineation of sections. incroyable,feroce et joyeuse!';Ici (1986) forflute, The medium concernedallows formuch antiphonal THE MUSICAL TIMES / NOVEMBER 1997 17 This content downloaded from 217.112.157.7 on Mon, 13 Oct 2014 09:06:50 AM All use subject to JSTOR Terms and Conditions 33 THEPIVOTAL work for Dusapin was the opera RomeoetJuliette (1985-88). Though this was not his firststage work, having been preceded by the verybleak and pes- - simisticNiobe (ou le rocherde Sypile) (1982), it was ? TI -' I "'" ii'1" ~"'S~ ~ ~ ~ I-l -- ~- the in which first his -I--itM, -,-?I -- 5t -- piece Dusapin applied properly 1 t I -4 ...-- . manyconceptions about narrativeto a theatricalme- dium. The librettoby Olivier Cadot, who had earlier IT. -7----Y provided the textsfor Mimi (1987) and Anacoluthe _ (1987), is highly experimental,and divided into nine 'numbers'.The centre of the work is the 33 _-_ __-- ___ piece fifth,entitled 'La revolution',for orchestraalone, which was writtenfollowing the death of Giacinto Scelsi. This richlyscored section mirrorsthe expan- --- -- siveness of Scelsi's orchestralwriting, but Dusapin ... , , ,---,---,f--, ,ti- ..... tempersthe awesome, hallucinatorytype of concep- tion associated with Scelsi with an underlyingsense of instabilityand violence thatis quite distinct. _PZ KlI.a 6 The four scenes preceding deal with the first f rl meetingsof Romeo and Juliet,who inspireshim to -- - 6wwUf, I' 1 1 T,"" " P----,- -- ... .' r . " - incite a revolution in the firstnumber, the 'Pro- " then become like childrenand the sec- ZI~ ? logue'; they , ...... ond, thirdand fourthnumbers deal with theirsub- sequent maturingand education.A choir comments upon the main action (as, forexample, where their oscillation between contrasts -,: melancholy pitches " ",, withthe main protagonists'promises of betterthings FF to come), while a quartetof voices serves as a type of intermediary,and in particularteaches them key revolutionaryconceptions, such as alienation,mo- ?I.. ..r_-,. ney,capital and critique.Romeo and Julietteare also leJeooq3$le taughtto sing by the 'mastersinger' Bill, whose part is completelyspoken untilthe eighthnumber, when he is seen to be a madman and only then begins to Ex.1: fromAssai (@ Salabertand reproducedby kind permission of UMP) sing. Bill also translatesRomeo and Juliette'swords fromShakespeare in the thirdnumber into French, and teaches them mathematics;after this and their contrast,whilst thereis a general progressionfrom revolutionaryeducation, they are joined by their lines constructedfrom sustained pitches, through doubles, Romeo 2 and Juliette2, who would seem to more discerniblerhythmic patterns, towards chords representan expansion of their personalities.All which coalesce at the end. Whilst the pitches seem singersand the orchestrafinally come into musical initiallychosen fortheir Xenakisite vectorial proper- correspondenceby the end of the fourthnumber, ties (as was the case in the earlierworks), it seems as singinghymns and battlesongs. if at the end harmonyis once again coming to the If the narrativeseemed non-linearand problem- fore.With Aks (1987), formezzo-soprano and seven atic in the firsthalf of thework, in the second halfit players,which was commissionedby the Societe des becomes clear thatthis is not reallyan operaticplot Amis du Muse des Artset TraditionsPopulaires, Du- at all. The sixth number,in which the quartetsing sapin made his first use of French folk-music, chantsand representthe New World Indians,before throughmaterial provided by the museum and an the heroes arrive,seems relativelystraightforward. Occitan lyric.The folk-melodyis quoted at the out- When theydo arrivein theseventh number, the con- set,but Dusapin pointsout thatthe remainder of the cern shiftsto the question of creatinga real opera, work was created according to processes autono- using all the characterson stage. This numberdoes mous to
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