Villa Medicis - Franck Pecquet
Click on the links below to listen to snippets of the following works
Visions Acoustiques (extrait), musique électronique réalisée aux ateliers de l’Upic, 1990, Paris.
In "Acoustic Visions" figures made on the UPIC sound, graphics table designed by the composer I. Xanaka, are interpreted by a painter Denis Brasilier. Starting from a sound translation of graphic forms borrowed from geometry, the sound development leverages the functionality of the machine (rotation, overlay plan, various envelopes ...), while the artist continues the sonic gestures originally inspired by a composition graphics and sounds heard. The canvas is regularly photographed, the photos are then scanned, edited and mixed on a computer with the soundtrack.Attirance, pour 2 Violons, Janos Négyésy et Paivikki Nykter dédicataires, 1992, San Diego
Attirance means attraction. The basic motivation of the piece is about " love ", the writing of the two violins being thought as a constant communication of the two instruments with various climax. The six parts on which is based the piece are meant to develop specific steps in the love relationship. With regard to my music it also corresponds to some ideas I developed in San Diego about music and " suggestion ". How does the music can express suggestive ideas and be closely compared to an intelligible medium ? The musical writing is certainly more intuitive that most of my pieces composed algorithmically, but was used a unique process to build up linear patterns based upon repetition, the Markov Chains. The repetitive outputs of such operations was chosen to suggest love.The special energy of the two sound sources ambivalent but complementary, acoustics and electronics, are organized in the sound continuum as a ritual of exchange. The movement of these two metaphorical own universe as a whole reflects sound space invested in this composition, just as he gives his general shape. The instrumental writing was done with the help of the Patch-Work LISP software, sound samples were treated and Station Please ISPW of IRCAM-direct-to-Disc MAX driven from the stage. Patch-Work in different libraries and analysis iana-resonance model, the synthesis and CHANT, C-SOUND aid to composition-sketch, alea, max were used. In a personal library of reference independent algorithm is used to generate the musical material. A series of melodic line, played the cello solo flights - is gradually developed. A substitute for notes and rhythms to create repeated poles harmonic and rhythmic. The electronic sounds are exclusively from acoustic sounds (treatment). The idea is either to renew or extend or disperse by the electronic stamps acoustic piano while the synthetic indicates a landing between the treated sample and the pure instrumental sound. It also performs feats of virtuosity unbeatable from a real piano (especially by the vocal range) and thus reflects a change of power in the instrumental playing. Finally, flute and horn are accompanying cello, their role often secondary to the cello, is to provide an additional color to the whole.
Elan (extrait), pour quintette à vent et piano, 1997
Digital model produced in the composer's studio, creation in the spring 98 to the Civica Scuola in Milan, Italy. In Elan I am stalked by a dark force. In the elbowing, now I recognize the origin, which does not reassure me, sometimes I lose track and I will continue again in the murky depths of time a desperate flight. Elan has nothing of metaphysics. But it's still life that is reflected in the relentless struggle that we are to escape from our end. It is the movement of this desire on constantly evolving and seemingly unrelated, for critical phase to witness his profound drama. This is my story, that of writing today the momentum of writing found. We no longer have time to pour over our lives, let the sounds you tell ...What catches the eye, the ear must also receive. What is revealed in the correspondence vision / hearing are not ideas or concepts, but how to achieve them, the entry speed of the object or thing, the speed with which becomes aware of his form. We must listen as you look, that is to say the thing be in and out simultaneously. Mindscape refers to Neoplasticism Mondrian who placed the volumes in space by making the image opacity for the fill material geometric space. Figure explicit conceptual replaces the physical volume. The straightness of shapes and colors of the franchise affect the eye by hiding the perception of real objects. The eye continues then the lines and contours of volumes cut by a few colors not relate to objects. The idea that drives the vision further, maintains the persistence implies an obvious musical correspondence. The prosecution is time. Here the idea of straightness suggests smoothing the surface viewed. This perception of ambiguous forms alters the ratio of surface and bottom as it eliminates the existence of the plan, abolishing the distance from the eye, look at the formal content. The shape escapes into the hard plastic lines at right angles. That would be in the area of his metaphor of Mindscape.
Where can I find Franck Pecquet ?
E mail: fpecquet@univ-paris1.fr