- In vino musica (20' - 1992), for 6 track tape (also exists as an installation with wine tasting and in a two track version)

        -premiere in the "Musique des Vignes" show at the Centre Culturel d'Albi, November 1992         (2 daily wine-tasting concerts for 4 weeks)

         -numerous performances, in concert version or with wine-tasting, and several radio broadcasts

         • CD "Musique des Vignes" (réf. GMEA MP9201, distr. Métamkine)

new edition as a virtual CD on OKCD label (USA), available on cdbaby (mp3, flac)


Listen to an excerpt ( mp3 format) :   Braucol (extr. from In vino musica)

or download in Real Audio format :   Braucol (extr. from In vino musica)

Description :

Mauzac ; Interlude 1 : machines 1 ; Syrah ; Interlude 2 : bouteilles ;

Lenc de l'elh ; Interlude 3 : machines 2 ; Duras ; Interlude 4 : aquatuor ; Braucol

 

This music was inspired by the typical cépages from the Gaillac region. I tried to establish, for five of them, in a purely personal and subjective way but hoping that listeners can find some of their own sensations, correspondences between several senses : sight, taste, smell and hearing. Four interludes bring some air in the piece with clearly differentiated short and rhythmic tracks. Some of the source materials come from the wine-making activities : sounds of fermentation, of pouring or flowing liquids, of bottling...

The Mauzac opens the piece, with supleness, finesse, onctuosité, of a rather yellow color, almost golden, sweet it is mostly used for a sweet white wine well known in the Paris bistrots, calm and champêtre. Follows an interlude, Machines 1, that combines in a rhythmic fashion several bottling machines with other sounds. Syrah comes next, violet, somber and slow, charpenté but with melancoly, distant and as hallucinated. The second interlude plays with Bouteilles (bottles), rubbed, hit one against another,and hybridized with intrumental sounds. Fresh and fruity, the Lenc de l'elh ("far from the eye" in Occitan, the old language of southwest France) gives fine white wines with bouquet, aromas of white flowers, springtime ; it is lively, light, brillant. It dégage a feeling of permanence, through held sounds or repetitions, small aerial bells, a certain plasticity, a large sonic space made up from multiple plans in which are present l fragility et tenacity. Then the Machines 2 come out, working from small explosions of fermentation to rhythms that little by little let one hear their mecanical origin. Then comes the Duras, a very old cépage, of a bluiesh black, producing a delightful wine, elegant, colored, amusing. It is the occasion for a danse, in an ascending spiral shape, light and et enjouée. The Aquatuor is a dialog between four independent parts, obtained by various filterings of flowing liquids or of fermentation. The piece ends with the Braucol, ("bull" in Occitan), with black bays, grenat, very typé. Powerful and dramatic, grave and balanced, it develops a depth and ends with wild and intense aromas.

The realization of In vino musica was made possible thanks to the help, in a great many different domains, of all the members from the Groupe de Musique Electro-acoustique d'Albi-Tarn, and it is in all friendship that I dedicate this work to Thierry, Roland, Marc and Vincent.

This piece was part of a large project called "Musique des Vignes", which was presented as an exhibit, retracing an itinerary going from the raw sounds to In vino musica, which was given in a daily wine-tasting concert for six weeks. The version presented then was on six track, with automated sound spatialization controlled by Matrica, a computer system devised by the GMEA, over eight loudspeakers. This spatialization was programmed by the composer. Musique des Vignes was one of many activities of the GMEA, aiming to develop in everyone an attitude of actvie listening, to highlight and maintain the sonic partrimony of the environment, a town, a county, an activity, and to establish relationships between the sonic reality and musical research and creation.

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