{"id":1591,"date":"1993-01-14T11:12:04","date_gmt":"1993-01-14T10:12:04","guid":{"rendered":"http:\/\/davidpilette.com\/FD2\/?p=1591"},"modified":"2022-01-19T16:23:34","modified_gmt":"2022-01-19T15:23:34","slug":"so-schnell-zu-fruh","status":"publish","type":"post","link":"https:\/\/www.fredericdurieux.com\/index.php\/1993\/01\/14\/so-schnell-zu-fruh\/","title":{"rendered":" So schnell, zu fr\u00fch <br><i><span style='color:#999999;font-size:18px;'>in memoriam Dominique Bagouet (1993) pour soprano, ensemble instrumental et dispositif \u00e9lectronique en temps r\u00e9el sur le texte de la Cantate BWV 26 Ach wie fl\u00fcchtig, ach wie nichtig de J.-S. Bach<\/span><\/i><\/br>"},"content":{"rendered":"\n<p class=\"has-normal-font-size\">(2-1-2-0\/1-1-1-0\/2 percussionnistes-piano &amp; celesta- synth\u00e9tiseur\/ 2-0-2-2-0 \/ station d\u2019informatique musicale, \u00e9chantilloneur, spatialisation et amplification)<br>Commande de l\u2019IRCAM<br>Cr\u00e9ation par Sh. Cooper, l\u2019Ensemble InterContemporain, technique IRCAM, dir. D.Robertson \u00e0 l\u2019IRCAM\/Centre Georges Pompidou, Paris d\u00e9cembre 1993<br>Dur\u00e9e\u00a0: 18 min.<br><a href=\"https:\/\/www.jobert.fr\/\" target=\"_blank\" rel=\"noreferrer noopener\">Editions Jobert<\/a> (Paris) <em>\u2013 anciennement \u00e9ditions Henry Lemoine<\/em><br><em>in CD monographique IRCAM\/Ad\u00e8s-MFA; Sh. Cooper, Ensemble InterContemporain, dir. D. Robertson &#8211; Technique IRCAM<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Cette partition encha\u00eene huit sections d&rsquo;un seul tenant qui se divisent ainsi :<\/p>\n\n\n\n<p><strong>I &#8211; Introduction<\/strong> (rapide, v\u00e9h\u00e9ment\/rapide, un peu plus lent)<br><strong>II &#8211; Ach wie fl\u00fcchtig I<\/strong> (flottant-flexible)<br><strong>III &#8211; Interlude I<\/strong> (lent, flexible puis <em>senza tempo<\/em>)<br><strong>IV &#8211; So schnell<\/strong> (soutenu, tr\u00e8s mobile &#8211; un peu plus lent, tr\u00e8s soutenu)<br><strong>V &#8211; Interlude II<\/strong> (sombre, lent &#8211; rapide, flamboyant &#8211; cassant, v\u00e9h\u00e9ment)<br><strong>VI &#8211; Wie leichtlich entstehen verzehrende Gluten<\/strong> (allant &#8211; mod\u00e9r\u00e9)<br><strong>VII &#8211; Ach wie fl\u00fcchtig II<\/strong> (calme, d\u00e9nud\u00e9 &#8211; vif, d\u00e9cid\u00e9)<br><strong>VIII &#8211; Conclusion<\/strong> (tr\u00e8s lent, myst\u00e9rieux puis <em>sensa tempo<\/em>)<\/p>\n\n\n\n<p>Les parties en allemand correspondent \u00e0 celles o\u00f9 la chanteuse intervient, les autres demeurent strictement instrumentales. D&rsquo;une certaine fa\u00e7on, <em>So schnell, zu fr\u00fch<\/em> est une extension de <em>Devenir<\/em> pour clarinette et \u00e9lectronique. J&rsquo;ai b\u00e9n\u00e9fici\u00e9 d&rsquo;une exp\u00e9rience acquise avec Leslie Stuck, assistant musical \u00e0 l&rsquo;Ircam, lors de la composition de cette partition pour d\u00e9velopper et \u00e9tendre les enjeux que je me suis fix\u00e9 pour les relations entre les sons \u00e9lectroniques \u00e0 ceux de la lutherie traditionnelle. Compl\u00e9mentarit\u00e9 ou diffraction, homog\u00e9n\u00e9it\u00e9 ou d\u00e9riv\u00e9s sont les bases de ma recherche. Je ne vise aucune confrontation, mais bien une polyphonie de structures et de timbres, que l&rsquo;\u00e9lectronique et l&rsquo;acoustique d\u00e9clinent chacun selon ses propres crit\u00e8res et qualit\u00e9s intrins\u00e8ques. Chacun \u00e0 son tour domine, s\u2019enrichit ou s&rsquo;oppose. La spatialisation par haut-parleurs dispos\u00e9s autour du public r\u00e9v\u00e8le alors les diff\u00e9rentes couches tout en reliant les \u00e9v\u00e8nements. L&rsquo;\u00e9criture vocale reste volontairement dans le domaine d&rsquo;un chant qui entoure le texte (m\u00e9lismes de <em>So schnell<\/em> &nbsp;par exemple) ou l&rsquo;\u00e9nonce plus clairement (monosyllabisme de <em>Ach wie fl\u00fcchtig 1 et 2<\/em>). Seuls les deux derniers vers sont parl\u00e9s, avant que l&rsquo;\u0153uvre ne s&rsquo;ach\u00e8ve dans des r\u00e9sonances glac\u00e9es.<\/p>\n\n\n\n<p>La forme globale est un parcours lin\u00e9aire, de la d\u00e9flagration initiale \u00e0 la suspension finale, o\u00f9 quelques \u00e9l\u00e9ments de figuration r\u00e9apparaissent, transgress\u00e9s, comme une r\u00e9miniscence brouill\u00e9e. On pourra remarquer que les sections instrumentales utilisent des <em>tempi<\/em> de plus en plus lents alors que les sections o\u00f9 la voix intervient restent dans des <em>tempi<\/em> quasi similaires. Pour cette partition, j\u2019ai privil\u00e9gi\u00e9 l&rsquo;instant et l&rsquo;articulation \u00e0 un sch\u00e9ma trop pr\u00e9\u00e9tabli qui ne me semblait pas correspondre \u00e0 l&rsquo;envie d&rsquo;une variation \u00e9volutive de tous les param\u00e8tres d&rsquo;\u00e9criture au fil du d\u00e9roulement dans le temps. La recherche d&rsquo;un devenir infini est certainement un aspect de mon travail actuel. En exergue \u00e0 la partition figure la d\u00e9dicace \u00e0 Dominique Bagouet o\u00f9 je cite le passage dans lequel Michel de Montaigne se rem\u00e9more Etienne de la Bo\u00e9tie : \u00ab\u00a0<em>Au demeurant, ce que nous appelons ordinairement amis et amiti\u00e9s, ce ne sont qu&rsquo;accointances et familiarit\u00e9s nou\u00e9es par quelque occasion ou commodit\u00e9, par le moyen de laquelle nos \u00e2mes l&rsquo;entretiennent. En l&rsquo;amiti\u00e9 de quoi je parle elles se m\u00ealent et se confondent l&rsquo;une en l&rsquo;autre, d&rsquo;un m\u00e9lange universel, qu&rsquo;elles effacent et ne retrouvent plus la couture qui les a jointes. Si on me presse de dire pourquoi je l&rsquo;aimais, je sens que cela ne se peut exprimer, qu&rsquo;en r\u00e9pondant: parce que c&rsquo;\u00e9tait lui, parce que c&rsquo;\u00e9tait moi<\/em>.\u00a0\u00bb (<em>Essais I, XXVIII<\/em>).<\/p>\n\n\n\n<p>Je remercie chaleureusement Leslie Stuck pour sa patiente et pr\u00e9cieuse collaboration.<\/p>\n\n\n\n<p>Fr\u00e9d\u00e9ric Durieux<\/p>\n","protected":false},"excerpt":{"rendered":"<p>(2-1-2-0\/1-1-1-0\/2 percussionnistes-piano &amp; celesta- synth\u00e9tiseur\/ 2-0-2-2-0 \/ station d\u2019informatique musicale, \u00e9chantilloneur, spatialisation et amplification)Commande de l\u2019IRCAMCr\u00e9ation par Sh. Cooper, l\u2019Ensemble InterContemporain, technique IRCAM, dir. D.Robertson \u00e0 l\u2019IRCAM\/Centre Georges Pompidou, Paris d\u00e9cembre 1993Dur\u00e9e\u00a0: 18 min.Editions Jobert (Paris) \u2013 anciennement \u00e9ditions Henry Lemoinein CD monographique IRCAM\/Ad\u00e8s-MFA; Sh. Cooper, Ensemble InterContemporain, dir. D. Robertson &#8211; Technique IRCAM Cette [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"off","_et_pb_old_content":"","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[24,13,25],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v17.9 (Yoast SEO v19.13) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>So schnell, zu fr\u00fch - Fr\u00e9d\u00e9ric Durieux<\/title>\n<meta name=\"description\" content=\"Bienvenue sur le site de Fr\u00e9d\u00e9ric Durieux, compositeur\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fredericdurieux.com\/index.php\/1993\/01\/14\/so-schnell-zu-fruh\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"So schnell, zu fr\u00fch Fr\u00e9d\u00e9ric Durieux - Composer\" \/>\n<meta property=\"og:description\" content=\"Bienvenue sur le site de Fr\u00e9d\u00e9ric Durieux, compositeur\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.fredericdurieux.com\/index.php\/1993\/01\/14\/so-schnell-zu-fruh\/\" \/>\n<meta property=\"og:site_name\" content=\"Fr\u00e9d\u00e9ric Durieux\" \/>\n<meta property=\"article:published_time\" content=\"1993-01-14T10:12:04+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-01-19T15:23:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.fredericdurieux.com\/wp-content\/uploads\/2022\/02\/Fre\u0301de\u0301ric-Durieux.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1367\" \/>\n\t<meta property=\"og:image:height\" content=\"753\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Fr\u00e9d\u00e9ric Durieux\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"Fr\u00e9d\u00e9ric Durieux\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.fredericdurieux.com\/index.php\/1993\/01\/14\/so-schnell-zu-fruh\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.fredericdurieux.com\/index.php\/1993\/01\/14\/so-schnell-zu-fruh\/\"},\"author\":{\"name\":\"Fr\u00e9d\u00e9ric Durieux\",\"@id\":\"https:\/\/www.fredericdurieux.com\/#\/schema\/person\/a33962bb2a339dd50976b2e193f30b79\"},\"headline\":\"So schnell, zu fr\u00fch in memoriam Dominique Bagouet (1993) pour soprano, ensemble instrumental et dispositif \u00e9lectronique en temps r\u00e9el sur le texte de la Cantate BWV 26 Ach wie fl\u00fcchtig, ach wie nichtig de J.-S. 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