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Rcam - Centreentracte Pompidou Jonathan Harvey, One Evening Rebecca Saunders, albescere création française Julian Anderson, Alhambra Fantasy Sam Hayden, Collateral Damage création française Ircam - CentreEntracte Pompidou Jonathan Harvey, One Evening... Grande-Bretagne 1 Susanne Leitz-Lorey, soprano Stephanie Field, mezzo-soprano Neue Vocalsolisten Stuttgart Ensemble Intercontemporain Vendredi 28 Direction Peter Rundel février 2003 Technique Ircam 20 h Ircam - Centre PompidouCentre Pompidou Grande salle Coproduction Ensemble Intercontemporain, Ircam-Centre Pompidou et Les Spectacles vivants-Centre Pompidou. Avec le soutien du British Council. Ircam - Centre Pompidou Rebecca Saunders albescere (2001) Effectif fusionnent également les uns dans les autres. J’ai cherché soprano, mezzo-soprano, haute-contre, ténor, aussi à étudier des sons à la limite de ce que je définis basse, poste de radio, hautbois, clarinette, comme une « blancheur » neutre ou le néant. trombone ténor-basse, 2 percussions, piano/orgue électrique, harpe, guitare électrique/guitare à La citation suivante accompagne la composition. Elle n’ap- cordes de métal, violon, violoncelle, contrebasse paraît pas, sous quelque forme que ce soit, dans la pièce elle-même, mais sert à cristalliser certaines préoccupations Durée qui ont suivi le processus compositionnel : Ircam - Centre18 minutes Pompidou «Un bruit de loin en loin. Quelle bénédiction un tel recours. Editeur Dans le silence et le noir fermer les yeux et entendre un bruit. Un Peters objet quelconque qui quitte sa place pour sa place dernière. Une chose molle qui mollement bouge pour n’avoir plus à bouger. Au ◆ noir visible fermer les yeux et entendre ne fût-ce que cela. Une Cette pièce est une commande de la ville de Francfort et de chose molle qui mollement bouge pour n’avoir plus à bouger. l’Ensemble Modern. Elle a été créée le 8 mars 2002 à la Philharmonie de Cologne par les Neue Vocalsolisten La voix émet une lueur. Le noir s’éclaircit le temps qu’elle parle. Stuttgart et l’Ensemble Modern sous la direction de S’épaissit quand elle reflue. S’éclaircit quand elle revient à son Dominique My. Elle porte la dédicace « Pour Martin (avec faible maximum. Se rétablit quand elle se tait. Tu es sur le dos mes remerciements aux membres de l’Ensemble Modern, dans le noir. Là s’ils avaient été ouverts tes yeux auraient vu un des Neue Vocalsolisten Stuttgart et à Matthias Bauer) ». changement. » Il s’agit de la création française. (Extrait de Compagnie de Samuel Beckett, Les Éditions de Le terme latin, albescere, se définit en français comme Minuit, Paris, 1985. Traduit de l’anglais par l’auteur.) suit : devenir blanc, poindre (albus : blanc). Rebecca Saunders La pièce est composéeIrcam pour douze instruments et cinq voix- CentreTraduit de l’anglais par SuzannePompidou Berthy solistes. Il n’y a pas de texte. Les voix font partie intégrante de l’ensemble. L’œuvre travaille différentes textures, surfaces sonores, palettes de couleurs, différents groupements d’instruments qui se confrontent dans diverses formes de juxtapositions et 2 Ircam - Centre Pompidou Julian Anderson Alhambra Fantasy (1999-2000) Effectif pleine d'énergie, dominée par des sons percussifs de tous flûte/flûte piccolo, hautbois, clarinette/clarinette types ; le paysage végétal, dans la seconde, évoqué par basse, basson/contrebasson, cor, trompette, l'emploi du chant. Il ne s'agit cependant pas de musique à trombone ténor-basse, 2 percussions, programme, car je préfère laisser l'auditeur se former ses piano/célesta, harpe, 2 violons, alto, violoncelle, propres images à partir des vifs contrastes de la musique. contrebasse Julian Anderson Durée Ircam - Centre12 minutes Pompidou Editeur Faber Music Limited ◆ Cette pièce, commande du London Sinfonietta avec l'aide du Arts Council d’Angleterre, a été créée le 6 février 2000 au Queen Elizabeth Hall à Londres par le London Sinfonietta sous la direction d’Oliver Knussen. Alhambra Fantasy est dédiée à la mémoire du compositeur français Gérard Grisey. Alhambra Fantasy a été composée originellement pour les seize musiciens du London Sinfonietta, dont j'avais reçu commande. C'est un hommage à l'art et à l'architecture du palais de l'Alhambra de Grenade. Je suis fasciné tout autant par la splendeur du palais, sa situation dans le paysage et la relation qu'il entretientIrcam avec l'histoire complexe de cette- Centre Pompidou région « maure » d'Espagne. Les deux grandes parties de l'œuvre, très contrastées, se rapportent à deux éléments différents de l'Alhambra : l'édifice lui-même, dans la première partie rugueuse et 3 Ircam - Centre Pompidou Sam Hayden Collateral Damage (1999) Effectif bois, percussions accordées et piano s'allient à un nouvel flûte piccolo, clarinette basse, contrebasson, élément linéaire dans la partie pour cordes, assez inhabi- trompette, trombone ténor-basse, tuba, tuelle dans mes récents travaux. Mais les coupures abruptes 2 percussions, piano, 2 violons, alto, entre blocs musicaux et permutations rythmiques cycliques violoncelle,contrebasse obsessionnelles demeurent une caractéristique de mes compositions. Durée 15 minutes Le titre renvoie à une expression cynique entendue pour la Ircam - Centre Pompidoupremière fois dans la bouche d'officiers supérieurs améri- Editeur cains pendant la guerre du Golfe, et qui est entrée dans le Faber Music Limited langage commun pendant les différents conflits balka- niques des années 1990. C'est un euphémisme destiné à ◆ rendre acceptable la représentation par les médias des Cette pièce, commande de Faber Music Limited pour ses pertes civiles aléatoires subies pendant les campagnes de Millennium series, a été créée le 17 mai 2000 au Poole Arts bombardement occidentales. Ce titre est une référence per- Centre à Londres par l’ensemble Kokoro sous la direction de sonnelle à la période historique pendant laquelle la pièce a Mark Forkgen. Il s’agit de la création française. été composée (la guerre du Kosovo) ainsi qu'à la colère et au trouble que j'ai ressentis quand, pour la première fois, Collateral Damage (dommage collatéral) j'ai réalisé que je connaissais des personnes vivant dans les Collatéral : (adj.) de part et d'autre, parallèle, issu d'une villes bombardées. L'opposition de cette réalité avec la lignée indirecte. représentation médiatique a été des plus brutales. Dommage : (n.) atteinte, préjudice. C'est toutefois une composition abstraite dénuée de tout Collateral Damage, pour ensemble de quatorze instru- élément programmatique. La rationalisation des actes de ments, s'inscrit dans mon travail récent d'exploration de la violence aléatoire est métaphorisée par la forme non-narra- stratification du matériau musical. tive de la pièce. La définition donnée par le dictionnaire du Ircam - termeCentre « collatéral », « de part et d'autre, Pompidouissu d'une Les différents timbres instrumentaux présents dans une for- lignée indirecte », peut s'appliquer à ma pièce au sens où mation relativement grande se déplacent à des vitesses l'ensemble des matériaux linéaires et harmoniques qui la rythmiques et harmoniques variées grâce à la singularité de composent procède de la musique d'ouverture, mais évolue chaque télescopage sonore. Les combinaisons de pulsations souvent de manière confuse, contradictoire et opposée. polyrythmiques présentes dans les parties pour cuivres, « Dommage » (« atteinte, préjudice ») est ce que subit 4 Ircam - Centre Pompidou ce matériau par l'action de diverses opérations aléatoires de permutation de nombres à mesure que la pièce va de l'avant. Mon but n'était pas, dans ces temps incertains, d'écrire une nouvelle pièce commémorative insignifiante, mais plutôt quelque chose que je considère comme faisant partie de ce moment historique (la fin du XXe siècle). Esthétiquement Ircam - Centreparlant, cette pièce pourrait être sous-titréePompidou « la négation du dôme du Millénaire », édifié à Londres pour célébrer le passage à l'an 2000. Sam Hayden Ircam - Centre Pompidou 5 Ircam - Centre Pompidou Jonathan Harvey One Evening... (1993-1994) Texte çoit des bruits de souffle. Le parler murmuré des chanteuses Han Shan, Rabindranath Tagore et Heart Sutra qui s'échangent les paroles du texte laisse place à une expression plus lyrique et scintillante. L'ensemble instru- Effectif mental constitué ici surtout de la harpe, du vibraphone et soprano solo, mezzo-soprano solo, flûte/flûte des cloches tubes se déploie dans des agrégats harmo- piccolo/flûte basse, hautbois/cor anglais, cor, niques qui rappellent l'univers boulézien. Plus frappante est percussion, synthétiseur, clavier la fusion des solistes vocaux et des instruments avec le numérique/échantillonneur, direct to disk, harpe, monde résonnant des synthétiseurs échantillonneurs qui Ircam - Centrevioloncelle, dispositif électroniquePompidouconstituent le prolongement spatial et timbrique des instru- ments. On dirait une extrapolation onirique des timbres Durée solistes. Tout au long de la pièce, la musique évolue à tra- 35 minutes vers des moments de lyrisme contemplatif s'articulant autour de l'axe la-si bémol des chanteuses. Editeur Faber Music Limited C'est d'une lettre de Rabindranath Tagore que provient le texte du deuxième mouvement. Jonathan Harvey avait déjà ◆ choisi le poète indien pour Song Offerings, pièce pour Cette pièce, commande du Studio de musique électronique soprano et ensemble. Le texte évoque « une expérience de de la WDR de Cologne sur l'invitation du compositeur alle- lumière rythmique en rapport avec l'unité des gens et des mand York Höller, a été créée le 14 juin 1994 à Stollwerk à objets, la scène que (Tagore) vit du balcon de
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