Pascal Dusapin (durée : 5'02''11)
extrait du "Cinquième quatuor" pour deux violons, alto et violoncelle interprété par le Quatuor Arditti - enregistrement : Cité de la musique - Editeur de partition : Durand, Salabert et Eschig (Universal Music Vision)
" My initial experience with music is the sound of the wind, associated with the love of an instument, the clarinet, which I had discovered when I was very young. Switching from listening to the wind to composing was a question of life or death. But the really decisive moment was Varese. When I came into contact with Varese, my life changed in the 25 minutes it took to listen to « Arcana ». I never think about Time when I compose music. I would even say that I don’t work with time. Time is neither the privilege of music nor its material. My materials are the forms… it’s like as if for me, space was greater than time and gives me more freedom. In my atelier, there are is everything and not much. I am sitting at a table, I write at my table, I am an extremely silent musician. In fact, I write music rather like an author. I have my paper produced in Germany according to precise standards ; a 005 mm felt-tip pen with Chinesea ink. All this is like ballistics, extremely precise. When beginning a score, the first note doesn’t really matter, the first thing isn't a note. In fact, to be very clear about this, I never start to write music… and I never finish writing music… I continue. The beginning of the fifth string-quartet which I wrote several years ago is an excellent example in this respect ; it had to start with poor material. It’s washed, filtered, and any authoritarian intention has been taken out... because it is worn out. That’s when you get this dual space which is produced by a violin player in his infinite loneliness whom I deliberately place in an impossible position ; and he plays this melody, somewhat poor and sad, well, let’s say, almost lost, isolated… and the three others play below in a totally different space, they are pizzicato, I look for a soft and suave, sonority ; I want them to have a rounded sound, in fact it is animal like, they are small animals ; scratching so to speak… The space between this line, very lonely, very high-pitched, and these small scratching animals creates a form, driven by two opposites, it’s a little bit like seeing a picture, with something taking place on the left side and something else on the right side driven by totally different intentions."
PRODUCTION : PANDORE/LGM - REALISATION : Yan PROEFROCK (PANDORE) - POSTPRODUCTION : PANDORE - DIFFUSION : MEZZO