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Art Zoyd Orchestre National De Lille Dir ART ZOYD ORCHESTRE NATIONAL DE LILLE DIR. JEAN-CLAUDE CASADESUS LUC FERRARI GÉRARD PAPE GÉRARD HOURBETTE DANGEROUS VISIONS LIVE 1998 En 1967, l’écrivain Harlan Ellison In 1967, writer Harlan Ellison commanda à divers auteurs de commissioned a number of science- science-fiction des nouvelles hors fiction writers to submit short stories des contraintes des écoles et du outside the constraints of schools and marché. La publication de ce recueil market. The publication of this original original, intitulé Dangereuses Visions, collection, entitled Dangerous Visions, had a determining impact, both in the eut un impact déterminant, par inspirations it revealed and the paths les inspirations qu’il révéla et les it opened up. A parallel is apparent to chemins qu’il ouvrit. Un parallèle us between the context behind these nous est apparu entre le contexte Dangerous Visions and the present: de ces Dangereuses Visions et the end of a golden age, with schools celui d’aujourd’hui: fin d’un âge d’or, fossilising, a sense of conformism, fossilisation des écoles, conformisme, renewed academicism, dissemination nouvel académisme, diffusion of ideas. So it seemed interesting des idées. II nous a donc semblé to try to reinvent these Dangerous intéressant de tenter de réinventer Visions in the current landscape of ces Dangereuses Visions dans contemporary musical forms, by le paysage actuel des musiques setting off transverse composition, contemporaines, en suscitant commissioning composers for symphonic «short stories» calling on des écritures transversales, en a wide range of material (symphony commandant à des compositeurs des orchestra and music technologies «nouvelles» symphoniques faisant applied on stage in real time), and appel à un matériau élargi (orchestre associating visual artists (in the symphonique et technologies fields of video, lights, architecture, musicales appliquées en temps cyberspace, virtual reality): a new réel à la scène), d’y associer des adventure... créateurs de visions (vidéo, lumière, architecture, cyberspace, réalité virtuelle) : une nouvelle aventure... Gérard Hourbette (1998) In 1967, writer Harlan Ellison commissioned a number of science- fiction writers to submit short stories outside the constraints of schools and market. The publication of this original collection, entitled Dangerous Visions, had a determining impact, both in the inspirations it revealed and the paths it opened up. A parallel is apparent to us between the context behind these Dangerous Visions and the present: the end of a golden age, with schools fossilising, a sense of conformism, renewed academicism, dissemination of ideas. So it seemed interesting to try to reinvent these Dangerous Visions in the current landscape of contemporary musical forms, by setting off transverse composition, commissioning composers for symphonic «short stories» calling on a wide range of material (symphony orchestra and music technologies applied on stage in real time), and associating visual artists (in the fields of video, lights, architecture, cyberspace, virtual reality): a new adventure... Lille, March 13th, 1998 Gérard Pape, Luc Ferrari, Jean-Claude Casadesus, Gérard Hourbette à s’inscrire dans mes partitions Tautologos IV (1996-97) LUC FERRARI instrumentales. C’est pourquoi lorsque Symphonic suite for large orchestra and j’ai rencontré les «répétitifs américains», Tautologos IV (1996-97) four samplers. au début des années 70, je n’ai pas été – bloc Suite symphonique pour grand surpris. C’est cette mystérieuse parenté, – interstice orchestre et quatre échantillonneurs. le fait que des individus à travers des – tautologie – bloc expériences différentes, font un pas Tautologos 4 was commissioned by Art – interstice ensemble sans le savoir. Zoyd Studios, the Orchestre National de – tautologie Tautologos 4, qui vient plus de vingt ans Lille with the support of the ministry of Tautologos IV est une commande d’Art après Tautologos 3, se situe aussi dans Culture and Communication (1996) Zoyd Studios, de l’Orchestre National de la même idée de répétition ou de cycle, Lille avec le concours du Ministère de la peut-être avec des libertés plus grandes, Instrumentation: 4 flutes (including 2 Culture et de la Communication (1996) peut-être avec moins de systématisme, piccolos), 4 oboes, 4 clarinets (including encore que la systématique n’a jamais 2 English horns), 4 bassoons - 4 French Instrumentation 4 flûtes (dont 2 été mon fort ni mon faible. horns, 4 trumpets, 4 trombones, 2 tubas, piccolos), 4 hautbois, 4 clarinettes (dont Au fil du temps les choses évoluent, harp, piano, tympani and percussion, 2 cors anglais), 4 bassons - 4 cors, 4 les cycles se dérèglent ou se joignent. strings trompettes, 4 trombones, 2 tubas, harpe, Partis de loin, les cycles se diversifient piano, timbales et percussions, cordes encore dans des domaines les plus Tautologos is a title I have been using Tautologos est un titre que j’utilise secrets ou le silence fait oublier l’objet for a very long time. The first was in depuis très longtemps. Le premier du cycle. Ce qui est intéressant là, 1961, early on in my experiences in the c’était en 1961, au début de mes c’est de retrouver des préoccupations field of what was at the time known as expériences dans le domaine de ce que anciennes - bien qu’entre-temps musique concrète. I was among the l’on appelait à l’époque « la musique ayant servies sans être nominées - et young members of the Avant-garde concrète ». C’est-à-dire que j’étais les employer volontairement comme who fiddled with technology-oriented parmi les jeunes gens de l’Avant-Garde propos, m’a entrainé à faire une experimentation. Tautologos, to me, qui tripotaient dans l’expérimental musique très différente de celle que je meant cyclic repetition. technologique. Tautologos pour moi faisais jusque la. Me semble-t-il. But even before then, I had developed voulait dire: répétition en cycle. Luc Ferrari, le 22 juillet 1996 an interest in cycles-based ideas which Mais déjà avant, j’étais intéressé par began to appear in my instrumental les idées de cycles qui commençaient scores. And so when I encountered à s’inscrire dans mes partitions Tautologos IV (1996-97) the «American repetitives», in the early instrumentales. C’est pourquoi lorsque Symphonic suite for large orchestra and Seventies, I was not surprised. There j’ai rencontré les «répétitifs américains», four samplers. was this mysterious sense of kinship - au début des années 70, je n’ai pas été – bloc the fact that individuals, coming from surpris. C’est cette mystérieuse parenté, – interstice different backgrounds and without being le fait que des individus à travers des – tautologie aware of it, take a step together. expériences différentes, font un pas Tautologos 4 was commissioned by Art Tautologos 4, which appears over twenty ensemble sans le savoir. Zoyd Studios, the Orchestre National de years after Tautologos 3, is also about Tautologos 4, qui vient plus de vingt ans Lille with the support of the ministry of similar ideas of repetition or cycles, après Tautologos 3, se situe aussi dans Culture and Communication (1996) possibly with increased freedom, and la même idée de répétition ou de cycle, maybe less of a systematic approach, peut-être avec des libertés plus grandes, Instrumentation: 4 flutes (including 2 even though being systematic has never peut-être avec moins de systématisme, piccolos), 4 oboes, 4 clarinets (including been one of my strong - or weak - points. encore que la systématique n’a jamais 2 English horns), 4 bassoons - 4 French Things evolve over time, and cycles été mon fort ni mon faible. horns, 4 trumpets, 4 trombones, 2 tubas, either go astray or join together. Coming Au fil du temps les choses évoluent, harp, piano, tympani and percussion, from afar, cycles further diversify in very les cycles se dérèglent ou se joignent. strings secret areas where silence makes one Partis de loin, les cycles se diversifient forget the object of the cycle. What is encore dans des domaines les plus Tautologos is a title I have been using interesting in this is to rediscover long- secrets ou le silence fait oublier l’objet for a very long time. The first was in time concerns - although meanwhile du cycle. Ce qui est intéressant là, 1961, early on in my experiences in the they were present albeit not named as c’est de retrouver des préoccupations field of what was at the time known as such - and intentionally using them as anciennes - bien qu’entre-temps musique concrète. I was among the subject matter, led me to make music ayant servies sans être nominées - et young members of the Avant-garde that was very different from anything I les employer volontairement comme who fiddled with technology-oriented had done before. Or so it seems to me. propos, m’a entrainé à faire une experimentation. Tautologos, to me, Luc Ferrari, July 22nd 1996 musique très différente de celle que je meant cyclic repetition. faisais jusque la. Me semble-t-il. But even before then, I had developed Luc Ferrari, le 22 juillet 1996 an interest in cycles-based ideas which began to appear in my instrumental scores. And so when I encountered BLOC Si je parle ici de magma informel, des passages : comme un escalier, BLOC Calling this an ‘informal magma’ c’est pour fixer le caractère de l’action comme le bruit de draperie, de soieries ; je was a way of setting the character of musicale et la situation psychologique dis cela parce que ce sont des bruits que the musical action and the listener’s de l’écoute. Le désir est de créer dans l’on retrouve dans la composition. psychological situation. The idea, with this ce premier mouvement, un son très fort, TAUTOLOGIE Ce troisième mouvement first movement, is to generate a sound that le plus fort possible et qui semble durer est fait de vingt et une phrases musicales is very powerful, indeed as powerful as très longtemps.
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