medium), tambourine, 2 gongs (low, medium) VI: hammer glockenspiel, marimba, small high side drum (tarole), snareless side drum, 2 large cymbals (two-handed) ! Publisher: Schott (Mainz) ‘I had initially written these for a single percussionist: he was accompanying his wife, a dancer from Hamburg, Dora Hoyer, who had commissioned the work. Then, I made a version for four instrumentalists which did not have much success, and finally for the forces of Les Percussions de Strasbourg—six performers made the work a triumph!’ ‘The percussion achieve what was long the unconscious object of my research with that of numerous contemporary musicians: the liberation from diatonic frameworks, ill-suited for expressing the contemporary sensibility... Here, in the first etude, the periods are essentially melodic periods and where the harmony transmutes in density, the harmonic resonances of the gongs and cymbals contribute the element of liberation in relation to the diatonic gradation. ‘In the second etude, density reigns from start to finish over a rhythmic environment and densities as ambiguous as the rumblings of a crowd. The side drum solo is a “spectre” reduced to the sole articulation of a vocal line. At the same time improvised, free and inspired, it requires a sort of trance-like state of the performer: it reaches its expressive height. Unshakeable accompaniment rhythm as in primitive ceremonies and a hum of a sort of chorus in response. ‘Etude 3: distortion of a single sound, F, with irisation of its whole harmonic spectrum. Depending on the point of where the Chinese cymbal is struck, the sound is distorted, unfolds, etc., becomes a dewdrop of sound in a rainbow or a fixed dot of light. ‘The fourth etude is a rhythm study that is nonetheless melodic and in strophic form, proceeding by inversions and juxtapositions of various sections. It affects a particular research in the dull colours of skins struck by sticks and still ends with a vibration of timbres, also dull, fading out in a roll in a final vibration of density.’
Seven instrumentalists
SIGNES (no. 58) Playing time: approx. 20’
6 pieces for flute (+ piccolo), chromatic cithara and cithara in thirds of tones (1 performer), piano and 4 percussionists Percussion instruments: hammer glockenspiel, vibraphone, xylomarimba, celesta, 1 set of crotales, 5 Chinese cymbals (C, D, F, F sharp, A), 3 suspended cymbals (high, medium, low), 1 pair of 2-handed cymbals, 2 tam-tams (medium, low), 5 gongs, 2 pairs of maracas, 1 guiro, 2 temple blocks (high, low), 1 pair of high claves, 1 tambourine, 2 bongos (high, low), 2 Saharan drums (tuned approximately C and B), 1 tarole, 1 second side drum, 1 snareless side drum, 5 tom-toms (A, B, F sharp, F natural, G), 1 bass drum (medium) ! Publisher: Amphion, 1967 (taken over by Universal)