Soundscapes Lecture and Concert
Learning to listen
It seams so natural to talk about listening ! An activity in which
everybody thinks he is expert in a certain way. The history of mankind
has proved that there are always new things to listen to, and that,
ranging from the perception of danger to contemporary electroacoustic
music, there has been not only a continuous evolution, but a very
logical one. At least it seams to be this way for us, today composers,
who are at the end of the road, paving the next inches that will lead
us towards the future.
Daniel Teruggi
Director of the Ina-GRM
Concert Program
November 26, 1999, 20.00 h.
Christian Zanési - Arkheion The voices of Pierre Schaeffer (1994) 16'48
Childhood, the railway, the 'sound object', relativity in everything.
Another tribute, this time to Pierre Schaeffer, the inventor of 'musique
concrête'. Here, several archive documents are used and the voice is old,
young, serious, grave and light by turns-like as many faces which, when
placed one upon the other, form single shape.
With the voice of Andréa Guinez.
(Thanks to Michel Chion for kindly allowing me to use a few words that
are spoken by Pierre Schaeffer in La tentation de Saint Antoine).
Christian Zanési
(born 1952, Lourdes). Musical training at Pau University with
Marie-Françoise Lacaze and Guy Maneveau, then at Paris Conservatoire
(CSNM) in Pierre Schaeffer and Guy Reibel's class. Member of the
Groupe de Recherches Musicales at the INA (GRM) since 1977.
Discography:
Stop! L'horizon. Profil-Désir. Courir, Ina-GRM c 2001
Grand Bruit, Métamkine MKCD011
Arkheion, Ina e 5001
Le paradoxe de la femme-poisson, Ina K 198
François Donato - La Chair du Sourire (1999) 15'30
Like many other composers, I don't enjoy the moment in which we have to
explain and name something that doesn't really belong to the domain of
words or of concepts. If the more or less poetic association of words can
make a satisfactory title, like an instantaneous glimpse of the displayed
musical form, the attempt of conceptualisation which represent the
program notes, most of the time only give a pale reflection of the
composers thought. This is quite normal, since thoughts are here
expressed through sounds, which range continuously from silence
(emptiness or matrix) to the most trivial materiality (representation of
the external reality), and that thought goes through this range as a
consequence of the accumulated energy of desire, of emotion and of
aesthetics.
The same road is taken by Love, this universal glue that makes us stand
almost straight. To resume : a continuous back and forth between la Chair
et le Sourire (The Flesh and the Smile).
François Donato
He was self-taught until the age of twenty, when he followed classes
with G.Manneveau, M.-F.Lacaze and M-N.Moyal at the University of Pau.
There he discovered and practised the 'concrete music'. After taking
classes with J.Schwarz in Gennevilliers and spending a short time with
SONUS at the Conservatoire in Lyons, he joined the GRM in 1991 to take
charge of the technical organization of concerts and the attendance of
composers. He is specially interested in public performances of
acousmatic music.
Some of his works: Triadis (1988), L'ange éblou (1991), Apsara (1992),
Annam (1993), Annam Sarvam (1995).
Discography:
Annam, Ina e 5003
Jacques Lejeune - Clamor meus veniat (1994) 15'16
'Clamor meus veniat' is a metaphor of a poetic speech. First of all its the
stage of complaint, which evolves from the expectation of waiting into
the swaying and the ripping. Then it is the story of crying, confronted to
other rhythms, to other organic universes different to itself, in
commotion, revolt, harassment and precipitation, all things that
transform the existing tracks in contradictions and in which we loose
sight of the personage. It is finally the feeling of abandoning oneself, the
temptation to escape, to climb the reverie of strecthing and of dilution.
Jacques Lejeune
He has been a member of the Groupe de Recherches Musicales since 1969.
He defines his music as "a person passing through a series of landscapes"
and proposes the following classification: 1.The Person and the Everyday
Landscape 2. The fabulous (Tales from the deep forest - Dream of running
water - Ancient legends and extended myths) 3. Ritual and imagery of the
Sacred (Masses and Prayers - Oratorios and Laments - The Lovers, death
and angels) 4. Birds of Fantasy 5. Jokes (The Bestiary - Greed and
eroticism - Burlesques) 6. Variations (Studies and paraphrases - Pieces
inspired by metamorphosis).
Discography:
Messe aux oiseaux, GMVL CD06
Le Cantique des Cantiques, Ina c 1011
Oraison funèbre de Renart. La Petite suite Laforgue. Le Petit Chapon
Rouge, AGON PV 720016
Pour entrer et sortir d'un conte; L'Eglise oubliée, Ina e 5004
Fragments gourmands. L'eau primesautière, Ina e 5201
Daniel Teruggi - The Shining Space (1999) 17'
Does space shine?
Several years ago, while composing Focolaria, I used "sound will-o'-the
wisps" (elusive and unreasonable sounds, I used to call them), which were
objects moving in space at a great speed without our ear being capable of
precisely detecting its form. These sounds seemed to shine for our ear in
the circling space.
In this work, I went out to chase these sounds. My son Leonardo helped me
with his electric guitar which was already capable of producing shining
sounds. I explored the brilliance and the sparkling of the sounds in all the
spectral regions and I looked the kind of space they would generate. Then,
I built a space in which they could shine, a space contained in the
recording which is multiplied by the space of the concert hall.
The movement of sound gives us the impression that an object has just
passed in front of us without giving us the opportunity to see it. Only the
"fingerprint" of the sound arrives to our perception. Acousmatic music is
made of fingerprints, of trails caused by invisible and unexisting objects.
A vague resemblance makes us sometimes think that we have almost
perceived what has just been. But it is only images that articulate in
space, frame of our listening, and receptacle of all the sounds that make
music.
So, let it shine!
Loudspeakers send us vibrations that reconstruct the sounds controlled by
the imagination of the composer. Let us observe this space, let us forget
the individual sources and let us imagine an "air", that would be different
of everybody's air, in which molecules would vibrate and in which we
could be capable of following the birth, the life and the trajectories of the
sounds thus produced.
This is really a challenge for next century!
In the meantime, let us listen, performed by space shining loud-speakers,
the 5 movements of 'The Shining Space'.
Biography Daniel TERUGGI: (b.1952, La Plata, Argentine).
Studied composition and piano in Argentina and in France at the Paris
Conservatory (Conservatoire National Supérieur de Musique de Paris) in
the department of Electroacoustic Composition and Musical Research. In
1981, he became member of the INA-GRM where he was first in charge of
the Syter system and then became Artistic Director of the group.
Actually he is Director of the Groupe de Recherches Musicales
His particular field of interest in the last years has been the
relation
between composers, with their concerns regarding Digital Tools, and
the
research and development of new tools that will integrate new demands
and enlarge the domain of concepts applied to Electroacoustic
composition.
He composes music for support (tape) and small instrumental groups and
tape or real-time transformation. His music has been recorded on
several
European and American labels and he has written several articles on
Acousmatic music and on Sound projection systems.
He teaches Digital assisted creation, at the Paris I Sorbonne
University.
CD's
- E COSI VIA, Computer Music Currents 8, Wergo 2028-2
- XATYS Ina-GRM INA C 2000
- SyrcUs - Sphæra Ina-GRM, INA C 1014
- MANO A MANO , Celia Records CL 9313
- SUMMER BAND - INSTANTS D'HIVER, Ina-GRM
- VARIATIONS MORPHOLOGIQUES, Agon
- INSTANTS D'HIVER - SUMMER BAND, Ina - GRM
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