What is immediately attractive about Francis
Dhomont, fortunately, apart from appearances, is that he posses nothing
of the Cloven Viscount, the Italo Calvino hero
whose two halves, misfortune and kindness, scatter along the way loss mixed
with consolation. If that story has a happy ending—where, after a duel,
both halves of the mini viscounts re-emerge as one reharmonized
entity—and if this fable comes to mind at this moment it is because of
a profound tendency towards this dichotomy characteristic of today’s
composers, to which some do not escape, either by perverted
coquetry—slandering and vituperating contemporary art while being in it
themselves—or by naive proselytism—discrediting their work by
making an irremediable gap between the ambition of their discourse and the
aesthetical result.
In the case of Francis Dhomont,
the process is out of the ordinary. We have with him the interesting double
union of a composer whose work is constant with consistent quality, varied
but with unity of style, colored but with great coherence. And, as a bonus,
he is a teacher who produces numerous quality good students, devoted to
listening to others and thinking about their discourse, a constant mover and
continuous analyst of the theories of an art which remains experimental, who
encourages an art allowing as much musical as human exploration, both
abundant qualities of this composer.
Because each half may exist without the other—one nourishing the
other—we can explain this remarkably balanced case of
acousmattitude…
The term acousmatic appears frequently in the texts of this book.
Yet, what does it mean?
An English neologism, which comes from the French acousmatique,
has its origins with Pythagoras (6th century
BC) who was (it is said) delivering his — uniquely oral —
teaching behind a curtain to prevent his physical presence from distracting
his disciples, allowing them to better concentrate exclusively on the content
of his message.
Closer in time to us, at the beginning of this century, one finds in the
two-volume French dictionary Le Larousse
pour tous:
Acousmate
n. (from the Greek Akousma, what is heard). Imaginary
sound, or of which the cause is not seen.
In 1955, the writer and poet Jérôme Peignot, at
the beginning of musique concrète, used the adjective acousmatic,
meaning ‘a sound that we can hear without knowing its cause’, to
designate “the distance that separates a sound from its origins”
by obscuring behind the impassivity of the loudspeaker any visual element
that may be connected to it. In 1966, Pierre
Schaeffer mused about giving his Traité
des objets musicaux (Treatise on Musical Objects) the title “Traité
d’acousmatique” (Treatise on Acousmatic). Finally, around 1974,
to mark the difference and to avoid any confusion with incidental or
transformed musical instruments (ondes Martenot, electric guitars,
synthesizers, real-time digital audio systems…), François Bayle
introduced the expression acousmatic music as a specific kind of music, as
the art of projected sounds which is “shot and developed in the studio,
projected in halls, like cinema.”
It is true that over the past twenty years, under the term
electroacoustics there has been a proliferation of sound pieces which have
little in relation to each other except a common use of electricity. It was
therefore important to affirm, with precise terminology, æsthetic choices, a
body of thought, and a language. It is also in this spirit that, since 1989,
the Rencontres
acousmatiques (Acousmatic Meetings) of composers in the south of France
have been organized.
Thus, this music — or better: Acousmatic Art (Denis Dufour) —
was conceived from its beginnings to be heard without the use of visual
intervention. It does not involve any instrumentalist on stage — with
the exception of the person who projects the work during a public performance
in order to maximize the use of the given space. It organizes morphologies
and sonic spectra, “images of sound” (François Bayle),
coming from a multiplicity of sources, but that the absence of visual
identification makes anonymous, unifies and prompts a more attentive
listening. (Is it by pure coincidence that the hearing of blind people is
reputed to be so refined?)
It follows its very own mechanisms that, due to their newness, require
coherence and intuition. It is a causa mentale. Finally, it sets or
fixes onto a medium (magnetic tape, computer disk or other) with precision
and no maybes, the most subtle nuances chosen by the composer: what we hear
doesn’t resemble what is wanted, it is what is wanted. This
last point is very well presented by Michel Chion in
his recent book, L’art
des sons fixés, ou la musique concrètement (The Art of Fixed Sounds, or
Music in Concrete Terms).
Further, let’s stress a fact that remains underrated. If music has
always been closely associated with its reproduction by performers, as
opposed to many other art forms that are once and for all fixed on a medium
(painting, literature, cinema, video…), it is due to the impossibility
to do so differently, and not by choice. Never before, until this day, could
one capture, keep, and reproduce a faithful image of sound phenomena. Before
it was necessary to use a more or less precise symbolic notation to capture
the ideas of composers. This gave birth to a quasi-universal practice that we
have no reason to complain about or tire of.
However, this situation is neither a fatality nor a law since today we
know how to fix sound as we do for visual images or text. To pretend the
opposite is only to rely on habit and on the largely publicized fetichism of
the performer.
Acousmatic, the art of a century that prevents the disappearance of sound,
is a new and autonomous art form which certainly finds in the compact
disc—a genuine sound book—one of its most convincing vehicles.
The seven works brought together here belong to this reality, still young but
already engaged in the next millennium.
Francis Dhomont,
Saint-Rémy-de-Provence (France), July-September 1991 [ix-91]
This acousmatic triptych recounts the Journey and some of its symbolic
projections (escape, love, flight, space, the limit of disappearance, the
loss of oneself) while merging natural images with pure abstractions;
metaphors of a metaphor, since in music any tale is inherently a
transposition.
The composition of these three works spans a period of eight years;
already, this suggests for me that the act of wandering both in its proper
and figurative meanings—movement, change, mobility, roving dreams,
upheaval, and revivals—all weave the very material of life itself.
There are thus three sections to this Cycle begun in late 1981
with Points de fuite
(Vanishing Points), for which … mourir un peu
(… dying a little, 1984) is an extended commentary in nine movements
and Espace / Escape (a
bilingual anagram—‘espace’ being French for
‘space’) (1989) is the final outcome definitively exploring
spatial preoccupations.
These last two works draw some of their material from Points de fuite, a
communal well. This is perceptible particularly in the fourth movement of
… mourir un
peu, its longest section, 4. Thème de la fuite
(Theme of Flight) which is both a large scale reprise-variation of Points de fuite as
well as the central axis for the eight other movements.
Under the title Mouvances~Métaphores
(Mobility~Metaphors), seven works are united around the common theme of
movement as with virtual displacement of sound in geometric space, or
metaphorical transferences of meaning into the realms of imagination.
[This text was originally intended for the 1991 edition]
As before, I wanted to offer the most interesting, precise and complete
document possible. The most beautiful as well.
As before, we find photos, an introduction by a privileged observer, and a
presentation and program notes by the composer on his work.
As usual, it is in French, and in English.
But, this one isn’t exactly like the others. It’s somewhat
different; it’s a little more. It is for Francis Dhomont: to
mark an hard to believe 65th birthday; to underline a multiplicity of
activities whose repercussions link generations, passions, creations, the
displacement of sounds, people, even continents; to resonate the uniqueness
of the work.
Therefore we trace his trajectory, his paths; we put him in perspective.
To better grasp, better know. We listen and listen again to the pieces,
energize them, burst them open for the discs.