Objets retrouvés (1996) 5'20"
in memoriam Pierre Schaeffer
Both a lamento and a funeral march, this paraphrase of Pierre Schaeffer’s Étude aux objets is not without connection to ornate, figgured choral style. Three voices (in the contrapuntal sense of the term), developed from elements drawn from the first movement of the Étude, embroider and animate the long values of the original subjects that make up the “choral,” which constitutes the fourth voice of this polyphonic composition. The choice of a classical form, so important in Bach, was a conscious one that was designed to honor the memory of Schaeffer. I like to think that he would have enjoyed the allusion.
Objets retrouvés (Refound Objects) was realized in 1996 in the composer’s studio with sound material obtained from the Syter system of INA-GRM, and it premiered on May 31st, 1996 at the “Hommage Tombeau de Schaeffer” concert as part of Synthèse, the Festival international de musique électroacoustique de Bourge (France, 1996). -FD
Francis Dhomont (Paris France, Québec, Canada)
studied under Ginette Waldmeier, Charles Koechlin and Nadia Boulange. In the late 40’s, in Paris (France), he intuitively discovered with magnetic wire what Schaeffer would later call “musique concrète” and consequently conducted solitary experiments with the music possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition.
An ardent proponent of acousmatics, his work (since 1963) is comprised exclusively of works for tape bearing witness to his continued interest in morphological interplay between sound and the images it may create.
The Conseil des arts et des lettres du Québec has recently awarded him a prestigious career grant. In 1999, he was awarded five first prizes for four of his recent works at international competition (Brazil, Spain, Italy, Hungary and Czech Republic). In 1997, as the winner of the Canada Council for the Arts’ Lynch-Staunton Prize, he was also supported by the DAAD for a residence in Berlin (Germany). Five-time winner at the Bourges International Electroacoustic Music Competition (France) – the Magisterium Prize in 1988 – and 2nd Prize at Prix Ars Electronica 1992 (Linz, Austria), he has received numerous other awards.
Since 1978, he has divided his time between France and Québec – where he has taught at the Université de Montréal from 1980 to 1996 – and has participated in several juries.
He now focuses on composition and theory.
