ISCM

C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Bosse, Denis: Alarme 

 

 

Basic information

  • Title: 
    Alarme
  • Subtitle: 
  • Composer: 
  • Duration (in minutes): 
    10
  • Year of composition: 
    2006
  • First performance (year): 
    2006
  • First performance (venue): 
    Festival Transit
  • First performance (performers): 
 

Notes

  • Program notes: 

    The work commissioned by the Transit festival in Leuven and created by the musicians of the Fibonacci trio is a duo for violin and piano. It was a very personal approach to the musical timbre. Indeed, current spectral research leaves me very dissatisfied because, by introducing the timbre as a "metaphor of composition", it leaves out the subjective relationship to the timbre. The sound of a bell is not the same for anyone, even if it is possible to make an objective description of it. My current research is the exploration of inner sound territories related to the sounds of the world. What is the sound of a bell to me when I hear it ringing in the distance? This approach, which originates at Debussy, thus tends to rehabilitate a certain way "without machines". Indeed, there is no need for a computer or algorithm for this research, it is a question of letting the sounds come, to hear them, to accept them and to write them. And how many alarms resonate in daily life! This music is therefore also intended as a kind of "sound recycling" of all these polluting sounds, a sound ecology!
    This work also meets my concerns about listening. For some time now I have been dreaming of encouraging people to listen to my music. In other words, the utopia of finding sounds, structures, silences and forms that lead the listener to question himself on his own listening. Again in this piece I would like to lead the listener to the limits of the inaudible which is the first for me in any music.
    Finally, composing this duo was an opportunity to continue my work on instrumental virtuosity. To be able to write the complex and unheard-of in an instrumental treatment that is sometimes difficult but never awkward or complicated. This issue seems to me to be very important for the dissemination of current works.

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Instruments

Total number of musicians: 
16
Musicians1st player2nd player
Flute
1
Oboe
2
Clarinet
2
Saxophone
2
Bassoon
2
Trumpet
2
Trombone
2
Musicians1st player2nd player
Violin
1
Double Bass
2

 

 

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