OCTUOR op.35

Notice

As its title suggests, the Octet op. 35, composed in 1977 for the Octuor de Paris, and premiered at the Musée Guimet on June 20 of that year, is a work of “pure” music, a stage of reflection in a production generally characterized by a very different use of natural sound models, i.e. raw sounds. From work to work, these have helped me to imagine certain procedures and sonorities, the use of which here is freed from their origins. These models have no place here; they have been deliberately forgotten, after having imparted their own vehemence to the music.
Harmonically speaking, while making extensive use of quarter tones, the work also incorporates “classified” chords, employed not as a nostalgic restoration of the tonal system, but as pure colors. After twenty years of proving the musicality of all noises, it remains to find new functions for combinations of simultaneous sounds, definitively freed from their consonant or dissonant values. The Octet Op. 35 poses this question, among others.