L'équilibre fragile de Pour la Paix
Identifieur interne : 000011 ( Hal/Checkpoint ); précédent : 000010; suivant : 000012L'équilibre fragile de Pour la Paix
Auteurs : Makis Solomos [France]Source :
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Abstract
Pour la Paix (1981-82) has a particular place inside Xenakis' production: it is his unique radio composition (Hörspiel). The composer drew extracts of texts from two books of his wife, to tell the story of two young boys, stemming from the same village, but recruited in two enemy armies. This text is read by four narrators. It is musically commented by sounds produced by the UPIC. In parallel, ten choral sequences open more speculative spaces, and propose a pure musical extension. Put in a tape, these three components can be diffused on the radio. However, the work was created in concert, and it is doubtless why Xenakis also proposes concert versions. After the examination of the project and the genetics of the work, this article analyzes the components one by one (text, choral sequences, UPIC sounds). Then, it examines their assembly, by emitting the hypothesis that the fragility of this assembly explains why the version concert (in particular the one with the narrators and the choirs on stage) is the more interesting for the listener. As a conclusion, the article deals with the final episode, where both boys die in the bomb blast .
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The composer drew extracts of texts from two books of his wife, to tell the story of two young boys, stemming from the same village, but recruited in two enemy armies. This text is read by four narrators. It is musically commented by sounds produced by the UPIC. In parallel, ten choral sequences open more speculative spaces, and propose a pure musical extension. Put in a tape, these three components can be diffused on the radio. However, the work was created in concert, and it is doubtless why Xenakis also proposes concert versions. After the examination of the project and the genetics of the work, this article analyzes the components one by one (text, choral sequences, UPIC sounds). Then, it examines their assembly, by emitting the hypothesis that the fragility of this assembly explains why the version concert (in particular the one with the narrators and the choirs on stage) is the more interesting for the listener. As a conclusion, the article deals with the final episode, where both boys die in the bomb blast .</div></front></TEI><hal api="V3"> <titleStmt> <title xml:lang="fr">L'équilibre fragile de Pour la Paix</title> <author role="aut"> <persName> <forename type="first">Makis</forename> <surname>Solomos</surname> </persName> <idno type="halauthorid">801232</idno> <affiliation ref="#struct-188359"></affiliation> </author> <editor role="depositor"> <persName> <forename>Makis</forename> <surname>Solomos</surname> </persName> <email type="md5">6c7af41aeff54ec7eec6a2ea80e63871</email> <email type="domain">univ-paris8.fr</email> </editor> </titleStmt> <editionStmt> <edition n="v1" type="current"> <date type="whenSubmitted">2015-09-21 22:08:18</date> <date type="whenWritten">2012</date> <date type="whenModified">2018-05-22 20:40:08</date> <date type="whenReleased">2015-09-23 13:29:37</date> <date type="whenProduced">2015</date> <date type="whenEndEmbargoed">2015-09-21</date> <ref type="file" target="https://hal.archives-ouvertes.fr/hal-01202897/document"> <date notBefore="2015-09-21"></date> </ref> <ref type="file" subtype="author" n="1" target="https://hal.archives-ouvertes.fr/hal-01202897/file/Pour%20la%20paix.pdf"> <date notBefore="2015-09-21"></date> </ref> </edition> <respStmt> <resp>contributor</resp> <name key="179231"> <persName> <forename>Makis</forename> <surname>Solomos</surname> </persName> <email type="md5">6c7af41aeff54ec7eec6a2ea80e63871</email> <email type="domain">univ-paris8.fr</email> </name> </respStmt> </editionStmt> <publicationStmt> <distributor>CCSD</distributor> <idno type="halId">hal-01202897</idno> <idno type="halUri">https://hal.archives-ouvertes.fr/hal-01202897</idno> <idno type="halBibtex">solomos:hal-01202897</idno> <idno type="halRefHtml">Xenakis. La musique électroacoustique / Xenakis. The electroacoustic music, Université Paris 8, mai 2012, publié dans Makis Solomos (éd.), Iannis Xenakis. La musique électroacoustique / The Electroacoustic Music, Paris, l’Harmattan, 2015, p. 125-157., l’Harmatta, pp.125-157, 2015</idno> <idno type="halRef">Xenakis. La musique électroacoustique / Xenakis. The electroacoustic music, Université Paris 8, mai 2012, publié dans Makis Solomos (éd.), Iannis Xenakis. La musique électroacoustique / The Electroacoustic Music, Paris, l’Harmattan, 2015, p. 125-157., l’Harmatta, pp.125-157, 2015</idno> </publicationStmt> <seriesStmt> <idno type="stamp" n="UNIV-PARIS8">UNIV-PARIS8</idno> <idno type="stamp" n="AO-MUSICOLOGIE" p="SHS">AO-MUSICOLOGIE</idno> <idno type="stamp" n="188359" p="UNIV-PARIS8">188359</idno> <idno type="stamp" n="SHS">SHS</idno> </seriesStmt> <notesStmt> <note type="audience" n="2">International</note> <note type="popular" n="0">No</note> </notesStmt> <sourceDesc> <biblStruct> <analytic> <title xml:lang="fr">L'équilibre fragile de Pour la Paix</title> <author role="aut"> <persName> <forename type="first">Makis</forename> <surname>Solomos</surname> </persName> <idno type="halauthorid">801232</idno> <affiliation ref="#struct-188359"></affiliation> </author> </analytic> <monogr> <title level="m">Xenakis. La musique électroacoustique / Xenakis. The electroacoustic music, Université Paris 8, mai 2012, publié dans Makis Solomos (éd.), Iannis Xenakis. La musique électroacoustique / The Electroacoustic Music, Paris, l’Harmattan, 2015, p. 125-157.</title> <imprint> <publisher>l’Harmatta</publisher> <pubPlace>Paris</pubPlace> <biblScope unit="pp">125-157</biblScope> <date type="datePub">2015</date> </imprint> </monogr> </biblStruct> </sourceDesc> <profileDesc> <langUsage> <language ident="fr">French</language> </langUsage> <textClass> <keywords scheme="author"> <term xml:lang="en">Xenakis</term> <term xml:lang="en">electroacoustic music</term> </keywords> <classCode scheme="halDomain" n="shs.musiq">Humanities and Social Sciences/Musicology and performing arts</classCode> <classCode scheme="halTypology" n="COUV">Book sections</classCode> </textClass> <abstract xml:lang="en">Pour la Paix (1981-82) has a particular place inside Xenakis' production: it is his unique radio composition (Hörspiel). The composer drew extracts of texts from two books of his wife, to tell the story of two young boys, stemming from the same village, but recruited in two enemy armies. This text is read by four narrators. It is musically commented by sounds produced by the UPIC. In parallel, ten choral sequences open more speculative spaces, and propose a pure musical extension. Put in a tape, these three components can be diffused on the radio. However, the work was created in concert, and it is doubtless why Xenakis also proposes concert versions. After the examination of the project and the genetics of the work, this article analyzes the components one by one (text, choral sequences, UPIC sounds). Then, it examines their assembly, by emitting the hypothesis that the fragility of this assembly explains why the version concert (in particular the one with the narrators and the choirs on stage) is the more interesting for the listener. As a conclusion, the article deals with the final episode, where both boys die in the bomb blast .</abstract> <abstract xml:lang="fr">Pour la Paix (1981-82) occupe une place particulière dans l’œuvre de Xenakis : elle constitue son unique composition radiophonique (Hörspiel). Le compositeur a puisé des extraits de textes dans deux livres de sa femme, pour narrer l’histoire de deux jeunes garçons, issus d’un même village, mais embrigadés dans deux armées ennemies. Ce texte est lu par quatre narrateurs. Il est commenté musicalement par des sons UPIC. En parallèle, dix séquences chorales ouvrent des espaces plus spéculatifs, et proposent une extension proprement musicale. Assemblés sur support, ces trois composantes peuvent donc être diffusés à la radio. Cependant, l’œuvre a été créée en concert, et c’est sans doute pourquoi Xenakis en propose également des versions concert. Après l’examen du projet et de la génétique de l’œuvre, cet article analyse les composantes une par une. Puis, il examine leur assemblage, en émettant l’hypothèse que la fragilité de cet assemblage fait que la version concert (notamment celle avec les narrateurs et les chœurs sur scène) rend plus justice à l’œuvre. En guise de conclusion, l’article traite de l’épisode final, où les deux garçons, après s’être retrouvés, meurent dans l’explosion d’une bombe.</abstract> </profileDesc> </hal></record>Pour manipuler ce document sous Unix (Dilib)
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