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Rendez-vous partout : le festival Extension de La Muse en circuit + les 30 ans du 102 à Grenoble

59 min
À retrouver dans l'émission

Le titre est trompeur, mais c'est pour faire vendre, vous nous connaissez. Les rendez-vous n'ont pas lieu partout, mais à pas mal d'endroits quand même. Le 13e festival Extension vient de commencer, avec des concerts, des rencontres et des conférences au programme, à Paris et dans le Val de Marne. La Muse en circuit, centre national de création musical situé à Alfortville, a été créée en 1982 autour de Luc Ferrari et prolonge depuis l'attitude de ce créateur compositeur : à savoir la liberté d'approche de la musique, et l'appel à se saisir de cette liberté. Les actions de la Muse en circuit vont de la résidence d'artistes au travail avec les scolaires, et évidemment les représentations publiques.

David Jisse, Julia Hanadi Al Abed & Thomas Baumgartner
David Jisse, Julia Hanadi Al Abed & Thomas Baumgartner

Extension, qui dure jusqu'à la fin du mois de mai, est un des rendez-vous à ne pas manquer pour faire connaissance avec "La Muse" ou poursuivre la conversation avec elle. David Jisse, qui dirige encore quelques semaines la structure, vient en parler, illustrations à la clé. A ses côtés, il y a Julia Al Abed, co-lauréate du 10e concours international de création radiophonique Luc Ferrari, dont on écoute un extrait de la pièce récompensée (Bilad El Cham), voyage sonore dans un Syrie autobiographique et recomposée.

> Mardi 7 mai à 23h, dans L'Atelier de la création, les compositions des trois lauréats (outre Julia Al Abed, il y a Sam Salem et Alejandro Montes de Oca) seront diffusées en intégralité .

Interview de Sam Salem, co-lauréat du 10e concours international de création radiophonique Luc Ferrari :
Paris is the object of your piece. Would you agree if one says that that piece is quite "cinematic" ? There's cinematic atmosphere...

Sam Salem
Sam Salem

I would agree, and I'm glad that you heard that "cinematic" intent in the piece: a big inspiration for me is the idea of electroacoustic music as "Cinéma Pour l’Oreille". I guess you could also say it was evocative or "dramatic". Electroacoustic music has the unique ability to use sound that is totally real, recognisable, concrete, but also totally abstract and unknowable. Perhaps most importantly, it also allows one to be quite ambiguous, somewhere between the two. I love playing with that tension, between the real and dream-like. I think it's a particular power of the medium, and it's very satisfying to explore!

I'm also very interested in the notion of narrative in acousmatic music and I think (or hope at least!) that my work is highly narrative, even if the narrative is itself quite abstract. I guess it's a question of the accumulation and dissipation of energy that dramatically pivots at key moments in the work, dragging the listener through a series of "dreamlike" and "real" situations.

I have read that you were starting your recording walks, from the very city center. Why so ? A sound may have the same way, physically speaking : from the inside to the outside. Is that your inspiration ?

The very centre, just outside Notre Dame Cathedral, is the "zero point" or "kilometre zero", which is the point from which all road distance in France are measured. I felt there was a certain poetry to starting each of my recording walks at this point and seeing how far, and in what direction, my ears led me. Very far and in lots of directions, as it turns out!

You manage to avoid the clichés of Paris. Was it difficult ? was it an precise aim ?

Again, I'm glad you feel that way! I think the piece is possibly more about what aspects of myself are reflected by the city, and vice versa, than being strictly "about the city". The city is of course present in my recordings, but these situations are filtered through myself, refracted through the prism of my experiences.

Perhaps I managed to avoid clichés by not having the "typical tourist" experience of the city... But I still made a recording at the top of the Eiffel Tower, so perhaps I'm not as immune to cliché as I'm pretending to be!

How would you qualify the link between geography and sounds, in your work ?

I think it's a complex relationship. I love to use cities in my work for a number of reasons: to delineate the musical vocabulary of a piece, to try to unlock the hidden beauty and sonority in the seemingly mundane, but perhaps most importantly to just try to pay attention to the moment. When I'm recording in a location, I'm listening, I'm alert, I'm in the moment with the location. And the recording becomes a document of my life, at a particular point in space and time. I like this approach to listening, and the "joy of discovery" associated with finding something of beauty, or interest, within a geographical location is edifying and inspiring: it gives me the motivation and impetus to continue.

I love to explore the geography of a place, led only be my ears, or eyes, or imagination (or all three!). And it's that exploration, or need to drift, that inspires my work.

Le 102
Le 102

Dans la deuxième partie de l'émission, on appelle le 102, salle bien connue à Grenoble, qui fête ses 30 ans tout au long du mois. La musique expérimentale, l'improvisation et l'électroacoustique seront au rendez-vous, on en parle avec Anne-Laure Pigache qui fait partie du collectif qui programme ce mois anniversaire.

Thomas Baumgartner (production), Benjamin Hû (réalisation), Bernard Lagnel (prise de son)

L'équipe
Production
Réalisation
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