the beginning being a sort of liturgy of sound and voice in which no intelligible

word appears.’

DEUX INCANTATIONS (no. 76 A)

for mezzo-soprano, flute and piano
I-‘Strophe’, taken from Autodafé (no. 72 A); II-‘Pythie’ from Office des Oracles
(no. 76)
! Publisher: Jobert, 1995.

CHANSONS POPULAIRES ESPAGNOLES (no. 96)

for voice and piano
I-Cantares del querer lejos (anon.); II-Las mis penas son de amores (anon.); III-
Cuando paso por el puente (anon.); IV-Nana (Federico García Lorca) (see no.
10); V-Martinete (anon.); VI-Neige sur les orangers (Asturian lullaby, anon.) (see
no. 95); VII-Tango el Mariquita (Federico García Lorca) (see no. 11); VIII-
Alborada (anon.) (see no. 12)
! Publisher: Billaudot, 2003
N.B. 7 of these 8 songs were adapted for voice and guitar by Alberto Ponce.

Two voices and instruments

TROIS PROPHÉTIES DE LA SIBYLLE, taken from LA CÉLESTINE (no. 90

A) Playing time: 15’
for 2 sopranos, percussion (one performer) and piano
! Publisher: Billaudot, 1995

A cappella choral works

CRIS (no. 67) Playing time: 17’30”

for 12 mixed voices
5 parts: I-Générique; II-Délirante; III-Debla; IV-Memorial 44; V-Slogans
" Forces: 3 sopranos, 3 mezzos, 3 tenors, 3 basses
! Publisher: Salabert (1st version, 1969); Jobert, definitive version, 1982.
‘A singer, a great master of flamenco, told me one day: “Our folk singing is born
from the cry, and we all believe that this cry was the only means of
communication amongst the earliest men who did not yet know the use of words
and who imitated animals to tell each other things.” This return to those basics-
perhaps imaginary but which, in any case, reveal an age-old memory-seems to me
a very original line of conduct, and I followed it.’

QUATRE CHOEURS (no. 95) Playing time: 8’

for children’s voices
I-Neige sur les orangers (berceuse asturienne); II-Mayombé (incantation afro-
cubaine); III-Nuées; IV-Carillon
! Publisher, Jobert, 1991, 1993.

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