Prix : 20,20 €
1977 - Paris, Festival du Marais - Francis Pierre
Chu Ky III for harp (1977) belongs to a large ensemble of seven pieces for various instrumental combinations. Chu ky means "cycle". According to Hinduism, the universe obeys a cyclic law, going through phases of development, then destruction and decline until a new cycle starts. "Human life, seasons, solar system movements, stars and galaxies... the whole universe evolves in a cyclic form, everything obeys an invisible law, this same law which revives matter of which we, human beings, are part. I believe in this law and l try to express it in the seven Chu ky". The cycle features an ubiquitous note, as a polarity towards which all melodic motives converge: G. This note has a special meaning in the mind of the composer: for a Vietnamese, Hinduism and Buddhism are considered Western philosophies (coming from India, west of Vietnam) and in the Yi King system of correspondences, it is precisely the G note, which corresponds to the west. Symbolizing the pre-existence of spirit before anything else, the G rises imperceptibly from the harp's low register, remains at the centre of the various phases of the cycle - birth, development, destructive chaos, disappearance - and ﬁnally vanishes on a high trill which fades away and disappears: music "is lost in the void as through meditation, human spirit fades into cosmic spirit...". Tôn Thât Tiêt dedicated Chu Ky Ill to his wife Tam-Quy.
Excerpt from the CD booklet "Incarnations structurales"
1 CD Horizons, H070173, Incarnations structurales
Incarnations structurales - Le Tombeau de Christian Lardé - The Endless Murmuring I - Mémoire des sons - Thuy Lâm,... Vô - Chu Ky III
- Marine Perez (ﬂute)
- Pauline Bartissol (cello)
- Frédérique Cambreling (harp)
Born in Huê in central Vietnam in 1933, Tôn-Thât Tiêt came to Paris in 1958 to study composition at the Paris Conservatoire. He attended Jean Rivier and André Jolivet classes for composition. He was at first drawn to the serial technique but from 1966 on, he turned to another mode of inspiration. [...]