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TristanPugin
Through the Spectrum:The New
Intimacy in French Music (II)
The first part of this article, a considerationof a mostly associatedwith large-scale works just or
numberof younger'post-spectralist'
Frenchcomposers
as about to be written. One thinks of the many
illustratedby someof theirrecorded
works(therecord- sketches of the cat sleeping at the feet of the
ings are detailedin an annexe to thispart) appeared Virgin in Francesco Barocci's 'Annunciation' as
in Tempo 212. Thatpartconcluded
witha discussion it is awakened by the soundless arrival of the
of PascalDusapin and his expressiveprogramme'to angel. The second of the solo flute pieces, Culte,
draw a wrackedlyricismfrom his materialthrough uses most of the techniques developed over the
sensuously tangiblestrategiesof constraint.As we yearsby the flautistPierre-YvesArtaud,so much
shall soon see, youngercomposers
have beenquickto so that one suspects gentle irony in the title; but
take this up to theiradvantage...')
already the ease with which Tanguy weaves his
white sound and special effects into his plastic
ERIC TANGUY
iter transcends the typically later-20th-century
Je laisseles concours
auxjeunes...'
genre of the virtuoso solo piece. Azur C is an
altogether more fibrous affair,following on as it
One of these is Eric Tanguy. Tanguy began his does from the sustained lyrical writing of the
musical training early both as a composer and as 1990 Violin Concerto.
The Concerto itself takes off from Dusapin's
a violinist. His official studieswith GerardGrisey
and Yvo Malec at the Paris Conservatoire were large-scale use of mixed wind and brass. Only
supplemented by informal study with Horatiu Tanguy saw the possibility in it of creating an
Radulescu, who found in the boy not only equivalent to string legato that could frame the
enthusiasm and talent but an exceptionally fine solo violin line without impinging upon it. The
in which
musical ear. Their work together centred on result is a kind of timbral depaysement
microtonality and harmonics which Tanguy the string sound keeps its magic throughout like
could lear from him in an intuitive and practical a single actressin an otherwise all-male cast. The
way without the theoretical carapaceof spectral- Violin Concerto is very difficultto play, not least
ism, since for Radulescu (as for Roger Sessions), because of the highly expressive use of microthe only 'nature' relevant to composition is the tones: which must be made to sound as 'true'
nature of human hearing.
intervallically as should be the case with conL'avenementde la ligne, one of Tanguy's first ventional tuning, ratherthan as a ready-to-hand
fully mature works, was written for organ in form of musical deconstructionism. Yet the
1988. This was at a time when Radulescu him- affinity of Tanguy's concerto writing is not with
self had been improvising on the organ of the virtuoso concerto but with, say, the Poemeof
Speyer Cathedraland had composed a Kyriefor Chausson, however different the actual idiom.
organ in a style unexpected for those who know In his Concerto for flute and 16 instruments,
only the freer compositional manner of works Tanguy adopts shifting gradations of contrast
like his pieces for solo strings. But Radulescu rather than the built-in contrast of the Violin
was a student of Aurel Stroe, who instilled in Concerto. A telling example of this is the lead
him a love of the music of Josquin and of in to the cadenza,when the flute is momentarily
Pierre de la Rue. In L'avenementde la lignethis entwined with another flute, and the lead out
taste for luminous polyphony is heightened both from it - then the flute is met, as it were, firstby
timbrically and spatially in a way that moves an oboe and then by a clarinet before brass
forward (at last!) from Messiaen's Livred'orgue. chords bring back a sense of chamber orchestra
It also reveals another constant in Tanguy's art heft. Wadi for solo flute was a first essay in the
which has only grown stronger with time - his peculiarly ductile figuration Tanguy knew he
fascination with extended forms of modality. would have need of, given the plan he had
Tanguy's numerous solo pieces have something doubtless alreadyin part worked out for the subof the artist'sdrawing about them since they are sequent Flute Concerto.
39
40
41
PhilippeLeroux(photo:Guy Vivien,courtesy
of UnitedMusicPublishers)
42
PHILIPPE LEROUX
'... est un compositeur
apollonien'(DominiqueDruhin)
Philipe Leroux has dealt less with l'heritage
spectralethan with its patrimoine,taking up what
is useful to him among other items of invention.
In fact what distinguishes him from the composers discussed above is his attachment to the
figure. This has to do with his sensibilityand not
at all with any reticence on his part to seek out
new territory, for he does just that. Leroux likes
to tell stories, and for that he needs charactersso
we can know what is happening to whom and
when it is happening. Only the charactershe
deals with are musical figures. The use of figures
in music need not be more 'traditionalist'than
in painting. It all depends on how they are used,
or if you like on what adventures they are sent.
This is of course where la musiquespectrale
comes
into the picture, though certain aspects of
minimalism, intelligent minimalism, are there as
well. None of this could go without humour Apollonmusicienis not without a certainwit - and
Leroux's pieces are some of the most genuinely
entertaining to be written in these last years. If
he wrote plays no doubt that they would remind
us of Musset and Marivaux.
Fleuveis a key work in Leroux'sfiguraldevelopment. The original, four-movement, version has
its dark incantatory moments and something of
de
that 'dynamiquede la sonoritepar transmutation
la masse' that Suzanne Demarquez finds in
Varese. Hearing it one would think that Leroux
might very well have followed the path opened
up by Dusapin in the early ensemble pieces. But
alreadyin the second - three-movement- version
the colours are brighter, the rhythms bolt free
from the mass and, as one might expect, the
figurative profile of each movement is more
compact. First there is a 'study' in glissando, or
better in all sounds slippery and slidy, next a
'study' in sounds repeated and sustained, and
then an eddying of the two of them together, till
both fuse in an ornamental arborescence.
Though peculiar events do occur in Fleuvethe
piece is on the whole serious in its manner, as
befits a young composer bent on giving a show
of the tricks he can turn in a quarterof an hour
with a well appointed ensemble. Phoniedoucefor
oboe, saxophone and cello takes a rather differ-
THIERRY BLONDEAU
'C'est le momentque vous choissisezpour ne faire
entendreque l'harmonieet le timbreparceque vous
aimez beaucoupca.'
If Hurel declareshimself to be a contextualist: 'II
aimeplut6tque ses piecesformentun ensemble,qu'on
puisse saisirle parcoursqui les relie' (Guy Lelong),
Thierry Blondeau goes a step further, kicking
leaves over the already tangled paths that crisscross his charmingly involuted world by finding
actual traces of what comes after in what came
before. Thus 'toutde 'Ein und aus' [1995]... se
retrouve
dans'Plotzlich'[1994].' Blondeau'sexpressive world has something furtive about it. 'Ne
faire entendreque l'harmonieet le timbre'is 'putting
on a carnivalmask' or 'playinghide and seek in the
bushesbehindone's house'.So that when melodic
events nudge their way past the branches it is
like a squirrel or a fox that has a quick look and
then disappears should anyone happen to be
looking. Not only that but the nudging goes on
for a spell before the face wholly appears.
43
44
Select Discography
PAUL MEFANO:
Paraboles; Involutive;Estampes
Inteferences;
japonaises;
Lignes;Signes/Oubli.'Sharon
Cooper (sop), Nouvel OrchestrePhilharmoniec.
Yves Prin. Veronique Fevre (cl), LilianeMazeron
(sop), Jacqueline Mefano (pno), Patrick
Petitdidier (hn), Boris Carmeli (bass),Ensemble
2e2m c. Paul Mefano. CD 2e2m 1007.
PlaceboDomino
mouvants';
Ondes/Espaces
in regionevivorum:;A BrunoMaderna';Mouvement
calme';Ensevelie; Voyager. 'Ensemble 2e2m c.
Paul M6fano, 'Renaud Francois; 'Ensemble
Voxnova; 'Renaud Francois (fl), Jacqueline
Mefano (pno). CD 2e2m 1006.
MEFANO:
Chansons imprevues;Strange;Fantasia
oscura;Melodie;Le cirque;Erosmachina.Ensemble
Accroche-note. Disques Montaigne MO782008.
MONNET:
DUSAPIN:
DUSAPIN:
DUSAPIN:
Book Reviews
two (p.88-9). Searchingfor 'structuralequivalents'
between sight and sound (p.14, from Dalcroze),
her basic thesis bears comparison with Lawrence
Kramer's notion of the 'structural rhythm'
between music and poetry, and at one point
Jordan even describesthe relationbetween music
and dance as itself'rhythmic' in nature (p.167).
As she quotes Edwin Denby, from a passage
which had implied that it is better choreographic
practice - by which he meant more human(e) to avoid demanding absolute synchronization of
the aural and the visual, 'The excitement of
watching ballet is that two very different things
- dancing and music - fit together, not mechanically but in spirit' (quoted p.77).
Indeed, in the wake of Stravinsky and
Balanchine, both of whom were more than
usually sensitive to its physical qualities, music is
commonly (and too simply [p.184-5]) said to be
visualized and given body by ballet, and by
watchedmovement in general.Bodily movement,
it is said, helps us to understandmusic as gesture.
This view may be no more than a defence of
Balanchine's own choreographic aesthetic, but it
is worth considering its correlate in the mode of
attention asked of the listener-viewer.
For, by virtue of the intrinsicallymetaphorical
nature of music's 'own' movements, the listenerviewer seems to be led to understand events in
47
(continuedfrom
page 44)
PHILIPPE HUREL: Six miniatures en
trompe-l'oeil;
Lefon de choses; Opcit'; Pour l'image. 'Alain
Damiens (cls), Ensemble InterContemporain c.
Ed Spanjaard.Compositeursd'aujourdhui- Ades
204562.
ERIC TANGUY: Violin
Violin Concerto. Rodrigue Milosi (vln), Pierre- PHILIPPE LEROUX: Continuo(ns); ppp; Air-re;
Yves Artaud (fl), Orchestre de Caen c. Claude Phonie douce;Fleuve. Ensemble Court Circuit
Bardon. Collection Chaminade-Salabert CHCD c. Pierre-Andr6Valade. Musique francaised'au5606.
jourd'hui MFA 216005.
TANGUY: Ocean, N.Y. Fantaisie;Solo; Azur C;
MFA216013.