Erda (1972)
This piece illustrates my early research carried out in a professional composition studio. After studying every available tools and creating variably hybrid connections between them, I chose to compose several short sequences, each being the expression of a research based on a sonic manipulation and exploring a well defined sound hue. Besides, my background as a percussionist and a jazzman encouraged me to conduct a rhythmical study in each of these sequences.

Erda consists of seven movements:
1. Variations: a lengthy framework interwoven with granular variations.
2. Cellules (Cells): this movement comprises a group of melodico-rhythmic cells shifting from the left channel to the right channel. The slightly raucous and acid texture of the ‘square’ sounds, that can be heard in several movements, is a reminder of saxophone and muted brass sonorities, as used in contemporary jazz.
3. Grillons: (crickets) an evocation of the realm of insects.
4. 54 oiseaux (birds): stereotypical bird songs produced by the generators of the studio 54.
5. Erda: a tribute to the Goddess of Wisdom and the Earth in Wagner’s Das Rheingold and Siegfried.
6. Génorgue: this sequence is somehow mirroring Cellules. The sound has however lost some of its aggressiveness and is getting closer to that of an organ or an electric piano.
7. Klook: rhythmical drumming figures such as those Kenny Clarke (aka Klook) used to teach me.
8. In memoriam J.C.: a tribute to John Coltrane.

Suite N (1982)
Commissioned by the Direction de la Musique and the Ina GRM.
Composed in the Ina GRM’s numerical composition studio with the assistance of Benedict Maillard and Yann Geslin.

In a composition studio, musical research is never very far removed from madness. The first step is the initial work on the sound picked up by the microphone and the varieties of delirium .......
more

Erda (1972)
This piece illustrates my early research carried out in a professional composition studio. After studying every available tools and creating variably hybrid connections between them, I chose to compose several short sequences, each being the expression of a research based on a sonic manipulation and exploring a well defined sound hue. Besides, my background as a percussionist and a jazzman encouraged me to conduct a rhythmical study in each of these sequences.

Erda consists of seven movements:
1. Variations: a lengthy framework interwoven with granular variations.
2. Cellules (Cells): this movement comprises a group of melodico-rhythmic cells shifting from the left channel to the right channel. The slightly raucous and acid texture of the ‘square’ sounds, that can be heard in several movements, is a reminder of saxophone and muted brass sonorities, as used in contemporary jazz.
3. Grillons: (crickets) an evocation of the realm of insects.
4. 54 oiseaux (birds): stereotypical bird songs produced by the generators of the studio 54.
5. Erda: a tribute to the Goddess of Wisdom and the Earth in Wagner’s Das Rheingold and Siegfried.
6. Génorgue: this sequence is somehow mirroring Cellules. The sound has however lost some of its aggressiveness and is getting closer to that of an organ or an electric piano.
7. Klook: rhythmical drumming figures such as those Kenny Clarke (aka Klook) used to teach me.
8. In memoriam J.C.: a tribute to John Coltrane.

Suite N (1982)
Commissioned by the Direction de la Musique and the Ina GRM.
Composed in the Ina GRM’s numerical composition studio with the assistance of Benedict Maillard and Yann Geslin.

In a composition studio, musical research is never very far removed from madness. The first step is the initial work on the sound picked up by the microphone and the varieties of delirium .......
more