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cymbals (high, medium, low), 2 tam-tams (medium, low), 2 crotales struck

together, 3 woodblocks.
! Publisher: Jobert.
‘There is no harmony in Lys de Madrigaux. Here, the melodic lines crystallise as
they can in a counterpoint.’
‘In the writing, the most significant would be, I believe, getting back to the
mediaeval conception of horizontal writing, whereas we are obsessed by vertical
writing and the bar line.’

MESSE (no. 82)


Playing time: 34’-40’ (liturgical celebration), 28’-32’ (concert performance)
for soli, double chorus and instrumental ensemble
10 parts: I-Entrée; II-Prélude; III-Kyrie; IV-Gloria; V-Épître (for liturgical
celebration only); VI-Alleluia; VII-Psaume (liturgical celebration only); VIII-
Trope; IX-Sanctus; X-Agnus Dei (in the liturgical celebration, the Trope is given
after Communion, followed by a vocalised repeat of the Agnus Dei)
" Forces: 2 solo voices (soprano, low mezzo), 2 choral ensembles (1
professional chorus of minimum 18 mixed voices SATB that can be enlarged
up to 24, 1 optional chorus from the congregation), instrumental ensemble
made up of 1 oboe, 1 trumpet, percussion (1 or 2 performers), organ; a
second version adds 1 B-flat clarinet, 1 bassoon, 1 trombone.
Percussion instruments: vibraphone, set of crotales (1 octave B-B), 2 Chinese
cymbals, 2 suspended cymbals (medium, low), 2 gongs (medium, low) including
1 Chinese if possible, 2 tam-tams (medium, low), 2 m’tumbas, 1 low tom, 2
Saharan drums (or, lacking those, low bongos), 1 tambourine, 1 pair of maracas
! Publisher: Jobert, 1978.
‘Archetype par excellence, the sacred text, created over the ages by inspired men,
adds to its obvious spirituality a phonetic value whose powers and mystery call
for vocalise, psalmody, antiphony and response as a spontaneous support, divided
between freedom and rigour.’
‘When I wrote my Mass, on my piano I had Machaut’s Mass on one side and
Stravinsky’s on the other—respectively, what I was dreaming of doing and what I
didn’t want to do!’
‘As in all the liturgies of our great ancestors, Alfonso el Sabio, Victoria or
Guillaume de Machaut, the sound demanded of the voices is here a sound
returned to its primary nature, i.e. without this conventional preoccupation with
accuracy that bel canto and the Lied imposed on vocal art for a full two centuries.
Once again, I try to free the voice towards riches it harbours between the notes of
the stave and beyond cultivated timbres.’

MESSE DES PAUVRES d’Érik Satie (no. 105)


Orchestration of three (nos. 1, 6, 7) of the seven parts of Erik Satie’s Mass for
the Poor, composed in 1895 for mixed chorus and organ: 1-Kyrie Eleison; 6-
‘Prière pour les voyageurs et les marins en danger de mort, à la très bonne et très
auguste Vierge Marie, mère de Jésus’; 7-‘Prière pour le salut de mon âme’.

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