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Composer: Francis Dhomont Premiere: May 31, 1996, Festival Synthèse (Bourges, France) In memory of Pierre Schaeffer (1910-1995) Both a lamento and a funeral march, this paraphrase of Pierre Schaeffer’s Étude aux objets is not without connection to ornate, figured choral style. Three voices (in the contrapuntal sense of the term), developed from elements drawn from the first movement of the Étude, embroider and animate the long values of the original subjects that make up the “choral,” which constitutes the fourth voice of this polyphonic composition. The choice of a classical form, so important in Bach, was a conscious one that was designed to honor the memory of Schaeffer. I like to think that he would have enjoyed the allusion. [English translation: Tom Carter] Objets retrouvés (Refound Objects) was realized in 1996 in the composer’s studio with sound material obtained from the SYTER system of Ina-GRM, and it premiered on May 31st, 1996 at the Hommage-Tombeau de Schaeffer concert as part of Synthèse, the Festival international de musique électroacoustique de Bourges (France, 1996). AvatArsSon (1998) 18m11s imed_0158-1.2 | 13849 | ISRC CAD500114550in six connected parts: Fondation; Avatars; Voix; Aventures; Paysages; À suivre… Composer: Francis Dhomont Commission: Ministère de la Culture (France), Ina-GRM Premiere: May 11, 1998, Salle Olivier Messiaen — Maison de Radio France (Paris, France) To “the inventors of the treasure” (Bayle, Berio, Chion, Dufour, Ferrari, Henry, Malec, Parmegiani, Reibel, Risset, Schaeffer, Stockhausen, Teruggi, Varèse, Xenakis, Zanési, and others too numerous to name) This presents an original aspect of the “new music” (as Schaeffer called it in 1950) one that, thanks to the concept of the sound object, brought about its accession to a multidimensional musical world. But it is above all a metaphor for, and a short cut across, some of the stages of the sound odyssey — heard for itself and for its unveiled “images” (Bayle) — and its performance. It also recalls the fertile guiding drift that allows the attentive ear to discover the furtive traces of homage. [English translation: Tom Carter] AvatArsSon was realized in 1998 in the Syter studio of Ina-GRM and in the composer’s studio, and it premiered on May 11th, 1998 as part of Ina-GRM’s Cycle acousmatique at the Salle Olivier Messiaen of the Maison de Radio France in Paris. AvatArsSon was a special commission of the Ministère de la Culture (France) and of Ina-GRM for the 50th anniversary of musique concrète. AvatArsSon was awarded the first prize at the 2nd Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (Pescara, Italy, 1999) and, in a shorter version (14:20), the second prize in the Musica Nova 1998 International Competition of Electroacoustic Music (Prague, Czech Republic). AvatArsSon was recorded on the disc 2°/3° Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer. Composer: Francis Dhomont 2b. Avatars (1998) 3m33s imed_0158-1.2.2b | 23598 |Composer: Francis Dhomont 2c. Voix (1998) 3m55s imed_0158-1.2.2c | 23599 |Composer: Francis Dhomont 2d. Aventures (1998) 2m32s imed_0158-1.2.2d | 23600 |Composer: Francis Dhomont 2e. Paysages (1998) 2m37s imed_0158-1.2.2e | 23601 |Composer: Francis Dhomont 2f. À suivre… (1998) 1m47s imed_0158-1.2.2f | 23602 |Composer: Francis Dhomont Composer: Francis Dhomont Commission: Ina-GRM Premiere: May 29, 1989, Grand Auditorium — Maison de Radio France (Paris, France) To musique concrète and Pierre Schaeffer, its ‘ill-fated inventor’ Novars salutes the birth of musique concrète, the Ars Nova of our century, by calling upon the resources of the computer. The intention is not to create a pastiche but, on the contrary, to testify that by the most advanced means a language has been passed on. It may also be possible to suggest, without establishing a simplistic symmetry, that there exists a link between these two theorists of a new art: Vitry and Schaeffer. The ‘classical’ ear will perhaps recognize fragments from Schaeffer’s Étude aux objets (1959) and Guillaume de Machaut’s Messe de Nostre Dame (1364). These quotations, along with a third sound element — a sort of homage to Pierre Henry and his infamous door — are the sole materials giving birth to multiple variations. A sign of change: ‘spectromorphologic’ (Denis Smalley) mutations give to sonorities of the Ars Nova and to ‘new music’ (as Schaeffer named it in 1950) the sound of our time. A sign of continuity: something from the original works (their color, their structure…) remains present, indestructible. [English translation: Tom Carter] Novars was realized in Studio 123 of Ina-GRM (Paris, France) and in the composer’s studio, and it premiered on May 29th, 1989 at the 11th Cycle acousmatique du GRM in the Grand auditorium of Radio-France (Paris). Novars was commissioned by Ina-GRM. The piece was selected by the International Computer Music Conference (ICMC ’90) in Glasgow (Scotland, 1990) and the International Society for Contemporary Music (ISCM) for the World Music Days in 1991 in Zurich (Switzerland). The jury of the Stockholm Electronic Arts Award also selected it for presentation at the awards concerts of the Stockholm Competition (Sweden, 1991). Very special thanks go to Pierre Schaeffer, who kindly allowed me to borrow some now-historic sound material; I am also grateful to Bénédict Mailliard, Yann Geslin, and Daniel Teruggi for their patience; without them it would have been impossible to carry out the work in Studio 123 and the Syter studio of Ina-GRM (Paris, France). Novars was included on the Mouvances~Métaphores 2-disc set (empreintes DIGITALes, IMED 9107/08) in 1991, and rereleased on Les dérives du signe (empreintes DIGITALes, IMED 9608) in 1996. Composer: Francis Dhomont Commission: DAAD Premiere: September 25, 1998, Inventionen ’98 (Berlin, Germany) To Inés Wickmann Jaramillo and her found objects Phonurgie —“making, working, and creating sound”—presents, fifty years after the first gropings, and at the verge of the century under examination, one of the current states of this new art, which has become an independent art of sounds. Unlike the other pieces in the Cycle, Phonurgie quotes no more than a passing subject of Schaefferian study, bringing the sound of this legacy to a close; on the other hand, the first part, Objets retrouvés, draws all of its material and its structure from it. Paraphrased elements from Novars can, of course, be found—elements that themselves paraphrase Étude aux objets, making them commentaries on commentaries—while the opening and conclusion make reference to AvatArsSon. Nevertheless, in this fourth homage, the allusions to the origins melt away before the original propositions; filiation is not renounced, but here the child, finally grown, reveals its identity. While technology may have changed considerably and the “sound color” may no longer be the same, morphological thought and writing still remain, in all of their many forms, true to the ‘spirit’ of the first “concerts de bruit” (Noise concerts). [English translation: Tom Carter] Phonurgie was realized in 1998 in the Syter studio of Ina-GRM (Paris, France) and in the composer’s studio, and it premiered on September 25th, 1998 as part of the Inventionen ’98 festival (Berlin, Germany). The piece was commissioned by Deutscher Akademischer Austauschdienst (DAAD). Phonurgie won First Prize at CIMESP 1999 (São Paulo, Brazil) and First Prize at CibertArt 1999 (Valencia, Spain). In 1998 Phonurgie was included on the Inventionen ’98: 50 Jahre Musique Concrète disc (RZ 10009/10) and in 1999 on the Musica Maximalista 6: III CIMESP 1999 disc (CD 199008708). electrocd.com Francis Dhomont: Cycle du son: track detail |
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