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Publisher: Amphion, 1967, taken over by Universal

‘With the Tombeau de Claude Debussy, I again took up contact with the piano.
And for the first time, I ventured to write a rather long cadenza. It was Henri
Dutilleux who commissioned this work for the RTF [French Radio], on the
occasion of the 100th anniversary of Claude Debussy’s birth. It is written starting
from small fragments taken from Pelléas, the Études, En blanc and noir and
other Debussy pieces that I know well, of course, which act a bit like yeast
making the work “rise”. Here I used a cithara in thirds of tones, because in
Debussy’s music, especially in his whole-tone scale, for me there is implicitly a
division of sound that is different from the chromatic scale. Here, I mean
something other than the usual chromatic scale... which is false, since there are
four commas on one side and five on the other.’
‘I am interested in only a few of my works and by periods. My sole faithfulness
goes, I think, to the Tombeau de Claude Debussy, especially the part entitled
“Rose des vents et de la pluie”, which is perhaps the most personal thing I’ve
written and with very limited means.’

SIBYLLE (no. 66) Playing time: approx. 17’

for soprano voice (vocalised), percussion (1 performer) and tape.
Percussion instruments: vibraphone, set of chromatic crotales, 3 woodblocks, 3
temple blocks (high, medium, low), 1 log drum, 1 pair of claves, 2 pairs of
maracas (high-low), 1 guiro, wood chimes (bamboo), tambourine, side drum,
low tom, 4 Saharan drums, 2 Chinese cymbals and 2 ordinary cymbals (medium,
low) on felt, 2 Chinese cymbals and 2 ordinary cymbals (medium, low)
suspended, 2 tam-tams (low, medium), 2 gongs (low, medium)
! Publisher: Jobert, 1991.
‘An adventure across time via the female voice, this work, composed like a
stained-glass window, calls for two performers: a soprano and a percussionist. In
turn mythical, familiar, sophisticated or prophetic, the voice of the oracle seems
to rise up from the dawn of time, from the streets of a nocturnal metropolis, or
else from a frenzied tropical forest. The vocal range—from tenderness to
sarcasm, from the shouted or murmured word to the fury of singing—blossoms in
a contrapuntal construction. The percussion becomes voice, and the voice
‘percusses’ as they exchange their timbres until they merge in the torrent of a
tape. Here, fire blends with the percussion and cries, grows and dies out in a
landscape of ashes at the foot of a final tenuto where the voice of a star survives.’

STREAM (no. 70) Playing time: 16’30”

Monodrama for male voice and string trio
" Forces: bass voice, violin, viola, cello
! Publisher: Salabert, 1974, taken over by Universal
‘Here one finds a simultaneous exploration of male vocal resources (acting as the
counterpart to the experiment attempted with Sibylle, for soprano) and a stage
suggestion capable of inspiring, in the style of Chinese opera, the mimodrama,
shadow theatre or masques. “Machinaire”, “Conspiration”, “Lear” and
“Dulcinée” are the subtitles, which, thanks to a few fragments of text and starting
in the middle of the work, orient the imagination towards more precise images,
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