This piece is composed from trasformed dadaist texts performed by Simone Rist, from Roger Cochini's voice and electroacoustic sounds. It speaks about very old stories, lost thousands of years ago. But are they really these old stories?
(Rounds's Circles) -1982 - duration :18'37'' Jeux des Rondes' tape music version. Composed in the composer’s studio.
This work has been composed with very diverse materials : a ship’s horn, computer-generated and vocal sounds, musical boxes, synthetisers and electronic keyboards. The 5 different movements of this work fit into each other through breaks, changes in the sound’s density, and sudden articulations.
(In an infinit point) : electroacoustic music – 15’25’’ – 2005 – violin Veronica Kadlubkiewicz - INA-GRM commission 2005.
This pièce has been composed with an extract of 18’’ from Grazyna Bacewicz’s second sonata for violin solo, and technics exercices of the violonist Veronica Kadlubkiewicz, to whom I dedicate this piece.
(Waterish Dwelling) - electroacustic music - 1967 - duration : 7' - 4 tracks - G.R.M. Commission , Paris, France.
This electroacoustic work built of two clearly differentiate parts, finds its sources in classic and less classic intruments, such as metal sheets, glass stems, etc. invented by the Baschet brothers.
Electroacoustic musique - 1978 - 8’30’’ - composed at the author studio Whith the voice and In memoriam Mercedes Cornu.
This work has been composed from the « destructuration », of four Latin-ameriacan’s popular songs : 2 argentinias and 2 brasilians ones , which were sung « a capella » by Mercedes Cornu. These songs have been break down in short and long sounds, syllables, breathings, coughs, etc.). The composer only used techniques of tape cutting, mixing and manual shakes on these different vocal elements in order to keep the original timbre and qualiy of Cornu’s voice.
L'Autre ... ou le chant des marécages
( The « Double » .... or the swamp’s song) - électroacoustic music - duration : 17'30''
A.C.I.C. Commision 1987.
I was deeply impressed with Blaise Cendrars’s paradoxal personnality, his terrifying « Double » which strips itself with an naked extrem and sadic cruelty in his book « Moravagine, It was impossible for me not to record the depth of my feelings in a brutal and vild vocal composition. The « Sacow » of Moravagine, lurks behind it.
The work’s onomatopeia was inpired by the short « black poems » from Cendrars’s story : « the white were black » (Les blacs étaint des noirs).
Electroacustic and electronic music - 1970 - duration : 11’45’’ - 4 tracks. G.R.M. Commission, Paris, France.
This piece is composed of 2 interchangeable movements. The first one, from electronic sources, articulates large sets of sounds, phrased by low pitch impulsions . The second from electroacoustic sources, presents a grating set of sounds that buitd up into large polyphonic ensembles.
(The other shore) – 17’20’’ – 2007. percusion Richard Aratian - State Comission for IMEB (Bourges).
Inspired by the Bardo Todol (The tibetan book of deth) this piece have been composed with percussions and some electroacoustic sounds. I thanks very much the percussionnist Richard Aratian for his inexhaustible patience, his imagination and his sens of humor during his recordings.
La Ba-balle du chien-chien à la mé-mère
(The ball of the old lady’s dog): electroacoustic music - duration 11’10’’ - 2001 G.M.E.B. Commission 2001, Bourges, France. Dedicated to Tim, Oggi, Justine and all the dogs having a grandma.
What can a ball, a dog and a grand-mother do, between storm and sunshine, in the country, except play ? This music is specially conceived for people who have one ore more dogs of any breed, size, color, degree of ferocity and I.Q.
Electroacoustic music - 1968 - 7’- 4 tracks. Commissioned by the Groupe de Recherches Musicales (GRM), 1968.
Composed from elementary transformations of orchestra instruments, a « arc-à bouche » or « gambarde » from Siam and human breath. Music can be a way to get rid of certain ambiances and the old memories.
(Whispering- tango) – 3’56’’ – 2003. Radio Berlin commission for the dancing party : MaerzMusic - Sonic Arts Lounge 2003, Berlin, Germany.
This tango had to be danceable, otherwise, il will be refuserd.
Río de los pájaros azules
( The blue birds’s river) - electroacoustic music - 1999/2000 - 10’20’’ Commissioned by The Bregman Studio 1998, Dartmouth College, USA. Dedicated to my missing friends.
This piece is the third movement if a triptych called Ríos del Sueño (The dream’s rivers). It is a pale and vague transposition of signs and tracs of a very intense musical sensation, that I barely had, one night long ago in a tropical latin-american dream.
Río de los pájaros escondidos
( The hidden birds’s river) - electroacoustic music - 1999 / 2000 - duration : 11’07’’. Commissioned by INA-GRM, France. Dedicated to Gerald Bennett.
This piece is the third mouvement of a triptych called « Ríos del Sueño » (The dream’s rivers). It is a pale and vague transposition of signs and tracs of a very intense musical sensation, that I barely had, one night long ago in a tropical latin-american dream.
Río de los pájaros
( The birds’s river) -electroacoustic music - 1998 - duration : 12’07’’ - Prize Magistère, Institut de Musique Expérimentale de Bourges (IMEB)’s International Competition 2000. Composed at the author’s studio. Dedicated to Elsa Justel and Roger Cochini.
This piece is the first mouvement of a triptych called Ríos del Sueño (The dream’s rivers). It is a pale and vague transposition of signs and tracs of a very intense musical sensation, that I barely had, one night long ago in a tropical latin-american dream.
Riàos del sueño
(The dream's rivers) : total lengh : 33’34’’ - 1998 / 2000 - stereo.
1) Rio de los pájaros
(The birds' river) : electroacoustic music - duration 12'07'' - 1998 - stereo - (1° version commissioned by the artist Jean Pal Ruiz in 1993) - Dedicate to Elsa Justel and Roger Cochini - Magisterium prize at the 27° Concours International de musique et d'art sonore électroacoustique, Bourges 2000.
2) Río de los pájaros escondidos
(The river of the hidded birds) : electroacoustic music, duration 11’07’’ - 1999/2000 - stereo -Dedicate to Gerald Bennett - INA-GRM Commission 1999.
3) Río de los pájaros azules
(The river of the bleu birds) : electroacoustic music - duration 10’20’’ - 1999/2000 - stereo - Dedicate to my missing friends - Commissioned by The Bregman Studio, Dartmouth Collège, USA 1998.
This triptyc is composed of 3 individual movements that are a pale and vague transposition of signs and tracs of a very intense musical sensation, that I barely had, one night long ago in a tropical latin-american dream. Uruguay , "rio de los pajaros" in quechua, played a very important meaning in this dream.
(White Siesta) - electroacoustic music - 1972 - duration : 14’. In Memoriam Astor Piazzolla. Groupe de Musiques Expérimentales de Bourges (GMEB) Commission 1972 for the musical suite « Les Saisons ». 3rd Prize of the Electronic Music Competition in Fylkingen 1975 (Sweden).
In Febrary 1972, as I was just back from a short stay in Argentina where I had spent the hottest summer of my last fifteen years (45 to 52° C), Françoise Barrière and Christian Clozier commissioned me a piece for their audiovisual performance « Les Saisons » (The Seasons), stipulating that I had to illustrate the winter in Argentina, with adding musical constituants of that country. Feeling a little troubled by the theme, I chose for Siesta Blanca some excerpts from Astor Piazzolla’s tangos and recorded sounds of an electronic organ, in view to express the of what I just lived. After transformation, theese sounds could materialize the extreme sensation of cold and heat : the cold made of the crystal of ice and its shuddering of frozzen light ; the heat made of hot vibration in a static and burning summer , as both sides of a same reality.
Souffle d’un petit Dieu distrait
(Breath of a distracted little God) - 1987/1997 - duration : 13’. IMEB’s Commission 1987.
« Among Divinities, witness of Universe creation by Brahma’s sacred breath, there was a little God who was living upon the Moon. One day, after his siesta, not quite awakend yet, his consciousness floating along his legendary absentmindedness, he left a sigh heaved,which became the Creator Breath which are possessing all big and small Gods. To his great surprise, the very essence of all elements slowly came to life with their proper potential circumstances, that is to say not revealed yet, the essence of the very small universe, in proportion with its size. Its fright turned into panic when the no-revealed suddenly reached to the revealed. Then, faced with the extent of his lack of attention (because he well knew that creating a world requires a total conscieousness together with a total responsability, all things he was unable to get), he breathed in, as swiftly as he could, as swiftly as the moving energy could allow it, that elementary essence until making it disappear ...! Ouf !... Afler such thoughtlessness, he moved at his uncle Saturne for holidays... in view to put some heavy stuff into his own brain with Saturne « help ».
(Broken Land) - for violin and electroacustic music - 1976 - duration 15'. French State Commission for the A.C.I.C., Paris, France.
« Lamento » is dedicated to a suffering Latin America, mainly to Argentina. The solist’s score has been written in collaboration with the violonist and composer Manuel Enriquez.
Electroacoustic music - duration 11’16’’ - 2001 - Musiques & Recherches Commission 2001 Commission, Belgium.
In spanish, this word means experiences lived with one's whole being, which contribute to build the personnality of a living being.
Paulina Oca’s choreography and danse
• Arras Festival the 6 / 06 / 1970, France.
• « Panorama of the Dance », Buenos Aires the 16 / 05 / 1971- « Danse Confrontation » , theater San Martin, Buenos Aires the 31 / 05 / 1971, Argentine
• Recital of Contemporaneous Danse, Toulon the 18 / 06 / 1971, France
• Recital Paulina Oca, Chascomus the 15 / 1972, Argentine
• « Contemporaneous Danse » à Arles le 15/ 06/ 1973, France
• Recital Paulina Oca au théatre San Martin à Buenos Aires le 22/ 06/ 1974, Argentine.
Paulina Oca’s choreography and danse.
• "Contemporaneous Danse", Arles, the 15 / 06 / 1973, France
A la lueur de la lampe
(At the lamp’s gleaming)
Susan Buirge’s ballet:
a) Mariage (instrumental music): 5'30''
b) Final flight) : electronique organ: 7'30'', 1973, Paris.
• Ballet at the "Centre d'Etudes et Rencontres Artistiques ", june 1973, Genève, Suiss.
• Tunesie Festival, july 1973.
• 6 performances at the Festival d’Automne, Galerie de la Cité Internationale from the 22 to the 27 october 1973, Paris, France.
Passacaille pour un lutin
• Ballet created with a extract of this music by the Opera of Paris’s choreographers and performend at the Opéra Comique, the 19/ 07/ 1985, Paris, France - luth Michel Amoric
• Médisances (Gossips) 1968: Diplome of the best record 1971 for ''Loisir des Jeunes'', Paris.
• Antartide 1971: (film) Price of the « Centre National du Cinéma Français », 1972, Paris.
• Siesta Blanca (White Siesta) 1972: 3° price at the « Electronique Music Competition », Fylkingen 1975, Suède.
• Homo Sapiens 1974/75: (film) Rissolli Price"Della Prima Opera'' 1978, Italie.
• Petit Poucet Magazine (Tom Tumb Magazine) 1985: "France Culture" Price for the Innovation at he International Competition of Radiophonic Creation Phonourgia
• The U.F.O. forest 1986: 1° mention at the 15° International Competition of Electroacoustic Music G.M.E.B. 1987, Bourges, France.
• Souffle d’un petit Dieu distrait (Breath of a distracted little God)1988/1999: Laureat at the UPIC Competition, 6° Journeys of Musical Computer System (JIM)
• Río de los pájaros (The bird’s river) 1998: Magisterium Price at the 27° International Competition of Music and Art Electroacoustic 2000, Bourges, France.
• Cantos de antes ((Far away songs) 2001 : 2° price at the Radio Bulgarie 2004, Bulgaria.
• Prix Qwartz d’honneur Pierre Schaeffer (Honor Pierre Schaeffer Qwrtz price, 2008 – Paris, France.