Stumbled upon a post for a sound art/noise music festival happening this weekend where I'll have the honor of hearing M. Chion perform this piece. I know him primarily as a writer on sound in film, but I had the vague awareness that he made electroacoustic music with le Groupe des recherches musicales (INA-GRM) (think Bernard Parmegiani, Michel Redolfi). This work is quite powerful, just listened through it for the first time, the relationship between the treated sounds (which can be quite harsh at times, attention) and reciting voices building meanings throughout.
What Chion has written about the piece / my translation...
Le Requiem a été composé en pensant moins à cette
majorité silencieuse que sont les morts qu’à cette minorité agitée que sont les
vivants; pour l’auditeur, il se propose comme un parcours dramatique accidenté
dont les courbes et les soubresauts traduisent une incertitude fondamentale
devant la vie, la mort et la foi. [...] Avec le Requiem, je n’ai pas voulu livrer de message, de
manifeste pro- ou anti-religieux. Il s’agit plutôt d’un témoignage personnel,
où j’invite l’auditeur à se projeter lui-même, s’il lui plaît d’habiter cette
musique de son expérience et de sa sensibilité.
---
I composed Requiem thinking
less of the silent majority of the dead than of the agitated minority of the
living ; for the listener, it is intended as an uneven dramatic journey of
which the curves and jolts translate a fundamental uncertainty before life,
death and faith… With Requiem, I didn’t
want to deliver a message or a pro-/anti-religion manifesto. Instead, it
consists of a personal testimony, where I invite the listener to project
themselves, if it pleases them, to live within this music of their experience
and their sensibility.
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