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  • The Mysterious Power of The Infinitesimal

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    Stratis Sgourellis
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    In the 1960s, Eliane Radigue began to move away from her earlier work in musique concrète as Pierre Henry’s assistant, with its focus on the juxtaposition of selfcontained “musical objects,” and towards an exploration of sound as an evolution with subtle transformations. By the 1970s, she was composing sounds by performing with a synthesizer onto a tape that was then played back in a concert.

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    The Mysterious Power of the Infinitesimal

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    In the 1960s, Eliane Radigue began to move away from her earlier work in musique concrète as Pierre Henry’s assistant, with its focus on the juxtaposition of selfcontained “musical objects,” and towards an exploration of sound as an evolution with subtle transformations. By the 1970s, she was composing sounds by performing with a synthesizer onto a tape that was then played back in a concert.

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    246 просмотров4 страницы

    The Mysterious Power of The Infinitesimal

    Загружено:

    Stratis Sgourellis
    In the 1960s, Eliane Radigue began to move away from her earlier work in musique concrète as Pierre Henry’s assistant, with its focus on the juxtaposition of selfcontained “musical objects,” and towards an exploration of sound as an evolution with subtle transformations. By the 1970s, she was composing sounds by performing with a synthesizer onto a tape that was then played back in a concert.

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    © All Rights Reserved
    Скачайте в формате PDF, TXT или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    из 4

    3/22/2017 TheMysteriousPoweroftheInfinitesimal

    htmlhttp://www.leonardo.info/lmj/LEOMJ19_pp047050.pdf.
    Googlehtml.

    Page1

    specialsection

    TheMysteriousPower
    oftheInfinitesimal

    ElianeRadigue

    INTRODUCTIONBYJOELCHADABE threemusicians.NaldjorlakI,IIandIIIwasfirstperformedin
    Inthe1960s,ElianeRadiguebegantomoveawayfromher January2009.Theevolvingsounds,themysteryofthesounds,
    earlierworkinmusiqueconcrteasPierreHenrysassistant, thedepthandpresenceofthesounds,arealltherewiththe
    withitsfocusonthejuxtapositionofselfcontainedmusical instruments.Butwiththesecompositions,ElianeRadigues
    objects,andtowardsanexplorationofsoundasanevolution focushaschangedfromanambiencetoaperson,fromthe
    withsubtletransformations.Bythe1970s,shewascomposing impersonalworldaroundustothebreath,pulsations,beat
    soundsbyperformingwithasynthesizerontoatapethatwas ingoflife.
    thenplayedbackinaconcert.Asshetoldmeseveralyears
    ago,Icouldmakesoundsthatchangealmostimperceptibly,
    andIlearnedtomodifythesoundstoutdoucement,verylightly,
    THEMYSTERIOUSPOWER
    almostlikeacaress....Iusetapebecausemypiecesaremade OFTHEINFINITESIMAL
    upofsoundsthatcrossfadeintoothersounds,andatthemo Inthebeginning,therewastheairspowerfulbreath,violent
    mentofoverlaptheresaninteractionbetweenthetwosounds, intimidatingtornados,deepdarkwavesemerginginlongpul
    anditscrucialtogetthetimingright....Inaconcert,her sationsfromcracksintheearth,joinedwithshootingfireina
    musicfloatedintheair,comingfromeverywhereasmusic flamingcrackling.Surgingwater,wavesstreamingintoshim
    withoutasource,justanaturalpartofourworld,justthere, meringdroplets....
    andwithouteffort. Wasitalreadysoundwhennoearwastunedtothispar
    In2001,respondingtoarequestfromKasperToeplitz,she ticularregisterofthewavespectrum(Fig.1)inthisimmense
    composedaworkfordoublebass.Itwasanentryintoanew vibratingsymphonyoftheuniverse?Wasthereanysoundif
    worldforher,withrichandinspirationalcollaborations,with noearwastheretohearit?
    newideas,andwiththediscoveryofanewworldofsoundin Thewindthenturnsintoabreeze,thebaseoftheearthinto
    traditionalinstruments.InDecember2005,shecreatedthe resonance,thecracklingfireintoapeacefulsourceofheat,
    firstpartofNaldjorlakforandwithcellistCharlesCurtis.The water,thesurfagainstthebank,cooinglikeastream.
    secondpartofNaldjorlak,composedwithbassethornplayers Lifeisthere.
    CaroleRobinsonandBrunoMartinez,wasfinishedinSep Anotherlevel,anotherthemebegins.
    tember2007.Thethirdandlastpartwascomposedwiththe Anorganadaptsitselftotransformationofaminisculezone
    ElianeRadigue(composer,artist),France.Email:<anne180@gmail.com>
    TranslatedbyAnneFernandezandJacquelineRose.

    Fig.1.elianeRadigue,spectrumofwaves.(stphaneRoux)

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    2009ElianeRadigue LEONARDOMUSICJOURNAL,Vol.19,pp.4749,2009 47

    Page2

    Fig.2.elianeRadigue,montage,fromlefttoright:elianeRadigueandarpsynthesizerin1974,inthelate1980s,andmorerecently,2004or
    2005.(photo:Yvesarman.stphaneRoux)

    fromtheimmensevibratingspectrum Temperament.... piecetubesandsurveyorsofvariably


    decodedintosoundscaptured,refined, Somanymarvelscamefromit.Ithad sizedstringsoverresonatingchambers
    meaningful. tohappen,itwasworthwhile. decidedtotakeeverythingbacktothe
    Crackling,roaring,howlingandgrowl ThencametheelectronicFairy primaryelements.
    ing,thenoisesoflifecacophonypunc throughthepowerofmagnetic,analog Thefrequenciesandeverythingthat
    tuatingthedeepeverpresentrhythmof anddigitalcapture,breath,pulsations, ensues.Varyingmodulationsgivingrise
    thebreath,pulsations,beating.... beating,andmurmurscannowbede tonewspectra.Inshort,allsocalled
    Afewmoremillionyears,thenoisy fineddirectlyintheirownspectrum, electronicmusic.
    emissionsorganizeintocoordinated andthusrevealanotherdimensionof Inthebeginning,fromthebeginning,
    soundsandwithreflection,becomea soundwithinsound. thefirstgeneratorsandallthepossible
    language. Theoccasionalaccident,adisrupted treatments,modulating,filtering,mix
    Butbreath,pulsations,andbeating relationbetweenrecordertransmit ingetc....(cf.MiltonBabbittsstudioat
    remain. terrecorderplayback,andthereour ColumbiaUniversity,thosefromthetime
    How,why,thesoundofthewind,ofthe mediumassumessomeindependence. ofdearKarlheinzandothers).Irascible
    rain,themovementofcloudsacrossthe How,then,doesitbehave? andunreliablemastodonsthatrequired
    skyastheyappearanddisappearagainst Breath,pulsation,beating,sustained patienttaming.
    theblueofspace,thecracklingoffire, sound,dependingonthemood. Ontheotherhand,byreducingallthis
    how,why,throughwhatmysteriousal Somuchrichnessinallthisfeedback paraphernalia,bymodulatingit....
    chemywillallthisturnintoachanted andotherchanceorprovokedinterfer Anotherstorywasbeginning.Astory
    recitativeforoneofthesebeings,re ence. wherebreath,pulsations,beating,mur
    centlyappearedhow,whydoestheexpe Suchachallengetokeepthemunder mursandaboveallthenaturalproduc
    rienceofanimpressionbecomesound, controlwhilemaintainingthecorrect tionofthesemarvelous,delicateand
    music? distance,thetinyadjustmentthatmakes subtleharmonicscouldbedeployedin
    Anorderingisunderway.Breaths themdevelopuntilaterriblefitcauses adifferentlyorganizedmanner.
    caughtinhollowtubesbecometamed themtoselfdestruct. Noacceptableintervalstotolerateor
    soundsources,hollowpercussiveob Thisiswhenothersplicersoffour obey.Noharmonicprogression.Nore
    jectsbecomesourcesofrhythm,strings
    stretchedoveryetotherhollowobjects,
    throughthestrokeofabow,turninto Fig.3.Fromlefttoright:BrunoMartinez,charlescurtisandcarolRobinsonworkedwith
    soundwaves. RadigueonthethirdpartofNaldjorlak.(DelphineMigueres)
    Hauntingrecitative.TheVoice,the
    Pathisthere.
    Hollowtubeswithholes,assembledin
    differentlengths.Hollowobjectswitha
    skinstretchedovercylindersofvarious
    dimensions.Stringsstretchedoverreso
    natingchamberswithmoresophisticated
    shapes,fittedwithsoundpoststhattrans
    mitandhear,animatedbyarcsturned
    intobows.
    AndthePath,alwaysmoreandmore
    themysteriousPath.Suppleandfluid,
    breath,earth,heatandwater,everything
    atonce.Thesubtlealchemyofsounds
    becomes,ohwonder,understood.One
    half,onequarter,onethirdofastrings

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    lengthrevealtheirperfectharmony,as
    laterconfirmedbyimagesonanoscil
    loscope.Exceptforthetiny,infinitesi
    maldifferencewhenlefttotheirown
    devices,naturalharmonicsunfurlinto
    spaceintheirownlanguage.

    48Radigue,TheMysteriousPoweroftheInfinitesimal

    Page3

    cursionorinvertedseries,norespectfor thisimperceptiblyslowtransformation intervalofafewcommastogivemore


    rulesofatonalitytendingtowarddiscor occurringduringeveryinstantandthat freedomtothebreaths,beatings,pulsa
    dant.Forgeteverythingtolearnagain. onlyanextremelyattentiveandalerteye tions,murmurs,sustainedsounds....
    Thefreedomtobeimmersedinthe cansometimesperceive,themovement Andaboveall,thewonderfulexperi
    ambivalenceofcontinuousmodulation ofaleaf,astalk,aflowerpropelledby enceofsharing,withthemostsubtleaf
    withtheuncertaintyofbeingand/ornot thelifethatmakesitgrow?Howtoknow finity,complicity.Thejoyofhearingthe
    beinginthisorthatmodeortonality.The alittle,justaverylittle,simplytotry,to musicIdreamtof,andthatthesemarvel
    freedomtoletyourselfbeoverwhelmed, trainoneselftolookbetterinorderto ousmusiciansmakeforme,givingallof
    submergedinacontinuoussoundflow see,tolistenbetterinordertohearand theirtalent,theirvirtuosity,theirsouls.
    whereperceptualacuityisheightened toknowthesetransientmomentsofbe Whatastrangeexperienceaftersomuch
    throughthediscoveryofacertainslight ingthere,onlythere?Likethebutterfly wandering,toreturntowhatwasalready
    beating,thereinthebackground,pulsa emergingnakedfromitschrysalis,with there,theperfectionofacousticinstru
    tions,breath. onlysmallwhite,blueorgreydotsdevel ments,therichandsubtleinterplayof
    Thefreedomofadevelopmentbeyond opingimperceptiblyintothewingsthat theirharmonics,subharmonics,partials,
    temporalityinwhichtheinstantislimit willtakeflight. justintonationlefttoitself,elusivelike
    less.Passingthroughapresentlacking Ihaveknowntheenchantmentofdis thecolorsofarainbow.
    dimension,orpast,orfuture,oreternity. coverybyforgettingallIhadlearned,I Simplyreturningtomyfirstloves,
    Immersionintoaspacerestrained,or haveofcoursealsoencountereddoubt, thoseneverforgotten.Andyetitisclear
    limitedbynothing.Simplythere,where denial,andthefeelingofabsurditydur thatthislongjourneythroughuncertain
    theabsolutebeginningisfound.Lend inglongyears,alonewithmyARP(Fig. landsalsoenabledmetosimplyrecognize
    inganeweartoaprimitiveandnave 2)andallofthedifficultieswehadto whatwasalreadythere,buried,hidden.
    wayoflistening. gothrough,beforeperhapsunderstand Mayitleadtoyetothers.Furtherad
    Breath,pulsation,beating,mur ingeachother...alittle. ventures,explorationsofthisinfinite
    mur...continuum. Now,itisintheiridescenceofthese mysteryofthetransmutationofnoise
    Idreamtofanunreal,impalpablemu slowlyflowinggrainsofsand,thatsome intosound,ofsoundintomusicand,as
    sicappearingandfadingawaylikeclouds wonderfulmusicianshaveagreedto withalltruequestions,toreceiveinre
    inabluesummersky.Frolickinginthe sharewhatIcallmysoundfantasies. sponseonlyafewhows,neverawhy,
    highmountainvalleysaroundthewind, CarolRobinson,CharlesCurtis,Bruno thusleavingendlessfreedomtotrace
    andgreyrocksandtrees,likewhiterun Martinez(Fig.3)andIhavejustcom onespath,tofindonesvoice.Pulsa
    aways.Thisparticularmusic,thatalways pletedthethirdpartofNaldjorlak.With tions,breaths,beatings....
    eludedme.Eachattemptendedinsee theirinstruments,celloandbassethorns,
    ingitcomecloserandcloserbutremain theyagreedtoexplorethissubtle,deli
    unreachable,onlyincreasingthedesire catesoundworldfashionedfrombreath, acknowledgments
    totryagainandyetagaintogoabit pulsation,beating,murmursandthe P.S.Thankstoallmyfriends.Notbeingabletoname
    further.Itwillalwaysbebetterthenext everyonehere,Iwillcitenoone.Consciousthateach
    richnessofthenaturalharmonicsthat
    ofyouknowandunderstandmyunfailingfidelity,a
    time.... radiatefromit.Theinstrumentstuned gratitudeboundtoallofthereciprocalrespectand
    Howcansoundsorwordstranscribe almostintounison,withjustaminuscule esteemthatmakeupthefermentofLife.

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    Radigue,TheMysteriousPoweroftheInfinitesimal 49

    Page4

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