Prix : 54,50 €



Quatuor à cordes n°2 Bitume

  • Category / Instrument : 2 violins, viola and cello
  • Duration : 17'
  • Genre : contemporary
  • Sortiment : Score + parts
  • Number of pages : 34 + 3x16 + 14
  • Format : 24 x 32 cm
  • Publisher : Lemoine
  • Code : 28746
  • Published : 24/09/2008
  • ISBN / ISMN : 9790230987462


13/10/2008 - Paris, Festival d'Automne, Théâtre des Bouffes du Nord - Quatuor Diotima


Festival d'Automne à Paris


to Philippe Beck


Bitume (Sérénade chevauchée)
Bitumen (Overlapping Serenade)

The pinhole camera is the most basic camera. A tightly closed box acts as a camera oscura, with a small hole to let the light in. The real image is inverted, due to the absence of focus, and fixed on photosensitive paper, thus reproducing the actual system of eyesight. The smallness of the light opening allows for an almost infinite depth of field. It requires, or rather permits, very long exposures. Not hundredths of seconds, but minutes, hours, weeks, or even years.
This extreme length of exposure and pin of light are the handwriting of time. They relate invention. They are the subject of this music which I have been contemplating for nearly ten years - the minimum time if one is to encourage the movers and of course for all of the figures to be deposited onto the Bitumen of Judea. Thus every "impression" can evolve toward its complexity. According to optical law, outside becomes inside, but inverted. The music slides toward an accelerated serenade, repeated indefinitely, upset by "brutalistic" treatment, hurled with forced marches across the panorama, finally revealed on the cantilena nakedness that outlines the vanishing point of this gallop.
The slowness of "researching", as Philippe Beck says, turns the researcher into the researched. He himself becomes photo sensitive and sees himself forced, without arrogance, but not without presumptuousness, to apply the known principle to himself: Orderly overlapping begins with one's self.



Born on January 17th, 1958, Gérard Pesson studied at the Sorbonne and then at the Paris CNSM, where he studied composition with Ivo Malec, orchestration with Marius Constant and analysis with Betsy Jolas. In 1986, he founded a contemporary music publication entitled Entretemps. From 1990 to 1992 [...]


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