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'''''Le Temps restitué''''' (Time Regiven) is a work for mezzosoprano solo, choir, and orchestra by the French composer [[Jean Barraqué]]. It was both the first part to have been begun and the last one to be completed in his projected but unfinished cycle of works based on [[Hermann Broch]]’s novel, ''[[The Death of Virgil]]''.
==History==
In March 1956, Barraqué first formed a plan to set passages, in the French translation by Albert Kohn, from the second book of Hermann Broch’s novel ''The Death of Virgil'', and straightaway began composing ''Le Temps restitué''. He finished a first draft in Paris on 20 October 1957, and then added a new beginning and cover page dated 11 December of the same year. In this respect, it forms the basis for all the subsequent works in the cycle {{harv|Henrich|1997|loc=121}}. He then devised a revised plan for the cycle which included details of the intended orchestration of ''Le Temps restitué'', but set aside the draft in favour of other projects. It was only in the summer of 1967 that the offer of a performance at next year’s [[Royan Festival]] rekindled Barraqué’s interest and he resumed work on the score, completing it in Florence on 8 February 1968. The first performance took place on 4 April 1968, as part of the Royan Festival. [[Helga Pilarczyk]] was the soprano soloist, with members of the French Radio Choir (prepared by Jean-Paul Kréder) and the Ensemble du Domaine Musical, conducted by [[Gilbert Amy]]. The same forces gave the first Paris performance at a [[Domaine Musical]] concert in the [[Odéon-Théâtre de l'Europe|Théâtre de l’Odéon]] on 25 April 1968. There was only one further performance during the composer’s lifetime, on 9 April 1973, at the [[Office de Radiodiffusion Télévision Française|Maison de l’O.R.T.F.]] in Paris with Anne Bartelloni (soprano), the French Radio chamber choir (using three voices on a part instead of twelve soloists), and the Ars Nova ensemble, conducted by Jean-Paul Kréder ({{harvnb|Griffiths|2003|loc=98–99}}; {{harvnb|Janzen|1989|loc=240–42}}). The third performance was the US premiere, and took place on 10 August 1978 at the [[Tanglewood Music Festival]] in Lenox, Massachusetts, with the Berkshire Music Center Orchestra conducted by [[Gunther Schuller]] ({{harvnb|Henahan|1978}}; {{harvnb| Dyer|1978}}).
On 1 October 1970, Barraqué began what was meant to be a related work, titled ''Arraché de … commentaire en forme de lecture du Temps restitué'', but it did not extend beyond a preliminary sketch for clarinets on three staves and the entry of an SATB chorus marked "Sprechstimme. Imprecise pitches but different in pitch register" {{harv|Janzen|1989|loc=243}}.
==Analysis==
The work is in five movements, performed without a break:
#La loi et le temps (Law and Time)
#Symbole de nuit (Symbol of Night)
#Portail de la terreur (Gate of Terror)
#L’inachèvement sans cesse (Unceasing Incompletion)
#Car ce n’est que par l’erreur (For Only Amidst Error)
It is scored for solo soprano, a choir of twelve solo singers, and an orchestra of twenty-eight players made up of roughly equal numbers of woodwinds, strings, and percussion {{harv|Griffiths|2003|loc=99}}.
The text is taken from a passage in Broch’s novel where [[Virgil]], alone in his room, late at night, contemplates the stars from his window. It is a meditation on the marriage of law and time, of the inevitable and the unpredictable {{harv|Griffiths|2003|loc=100}}. It follows the linear arrangement of about six pages of Broch's text. The texts of the first, third, and fifth movements are three [[Elegy|elegies]] in verse, taken without alteration from Broch’s novel. The second and fourth movements intersperse lightly edited prose passages from Broch’s surrounding narrative framework. Barraqué's omissions from the prose texts avoid many typical Brochian stylistic features in favour of its distinctive rhythm, retaining aspects of designation, assertion, and description. The syntax of the French translation permits Barraqué to end on the words "ouvert à la connaissance" (open to perception), which would not have been possible in the German original. In this way, "réconfort terrestre" (consolation in the earthly) becomes more important than the opening to perception {{harv|Hiekel and Stašková|2009|loc=165}}.
The first movement opens with an orchestral introduction, followed by a four-voiced chorus in shifting tempos. The second movement is slower, with the solo soprano singing for the first time, against an orchestral accompaniment. The movement ends with the words "libérée du hasard" (freed from chance) which, in Broch’s novel, lead directly into the second elegy. The third movement, setting this elegy, is longer and more complex, questioning how eternal truth is to be found within human mutability. The chorus sings four independent layers of text in twelve parts, "colliding and chaotic" (according to the score's instructions) against the soprano’s cantabile, then adopts a more settled four-part texture to complete the movement as an aria with choral accompaniment. The fourth movement returns to the slower tempo and fragmented manner of the second movement, only now adding the chorus to the soprano and orchestra. It consists of two large sections of text setting, separated by a two-minute wordless interlude for chorus and orchestra. The concluding text once again ends with the words Broch uses to introduce the following elegiac verse “car ce n'est que dans l'erreur, ce n'est que par erreur” (because only amidst error, it is only through error). The final verse setting is slower still, though with constantly changing tempos. The soloist appears less often in this movement, while the choir is texturally more complex, at one point presenting twelve different lines of text simultaneously {{harv|Griffiths|2003|loc=100–102}}.
== Discography ==
* ''Jean Barraqué: Concerto; Le Temps restitué''. Anne Bartelloni (mezzo-soprano), Groupe Vocal de France, and [[Ensemble 2e2m]], conducted by [[Paul Méfano]]. Recorded January 1987 at Studio 103, Radio France. CD recording, 1 disc: 12 cm, stereo. Harmonia Mundi 905199. Arles: Harmonia Mundi, 1987.
* ''Jean Barraqué: Œuvres complètes''. Rosemary Hardy (mezzo-soprano), Vokalensemble NOVA Wien (Colin Mason, chorus master), and [[Klangforum Wien]] conducted by [[Sylvain Cambreling]]. Recorded 20–21 September 1995, in the Konzerthaus Mozartsaal, Vienna. CD recording, 3 discs: 12 cm, stereo. CPO 999 569-2. Musique française d'aujourd'hui. Georgsmarienhütte: Classic Produktion Osnabruck, 1998.
==References==
* {{wikicite|ref={{harvid|Dyer|1978}}|reference=Dyer, Richard. 1978. "US Premiere Closes Fromm Fest". ''The Boston Globe'' (12 August): 9.}}
* {{wikicite|ref={{harvid|Griffiths|2003}}|reference=[[Paul Griffiths (writer)|Griffiths, Paul]]. 2003. ''The Sea on Fire: Jean Barraqué''. Eastman Studies in Music 25. Rochester: University of Rochester Press. {{ISBN|978-1580461412}}}}
* {{wikicite|ref={{harvid|Henahan|1978}}|reference=Henahan, Donal. 1978. "Tanglewood to Shine Spotlight on the Obscure". ''The New York Times'' (Monday, 31 July): C16.}}
* {{wikicite|ref={{harvid|Henrich|1997}}|reference=Henrich, Heribert. 1997. ''Das Werk Jean Barraqués: Genese und Faktur''. Kassel: Bärenreiter. ISBN 9783761813867.}}
*{{wikicite|ref={{harvid|Hiekel and Stašková |2009}}|reference=Hiekel, Jörn Peter, and Alice Stašková. 2009. "Der Tod des Vergil: Broch-Vertonungen des Komponisten Jean Barraqué". In ''Hermann Broch und die Künste'', edited by Alice Stašková and Paul Michael Lützeler, 157–82. Berlin: Walter de Gruyter GmbH & Co. KG.ISBN 978-3-11-020955-6.}}
* {{wikicite|ref={{harvid|Janzen|1989}}|reference=Janzen, Rose-Marie. 1989. "A Biographical Chronology of Jean Barraqué", translated by Adrian Jack. ''Perspectives of New Music'' 27, no. 1 (Winter): 234–45.}}
==Further reading==
*Hayes, Aaron. 2015. "Death, Creativity, and Voice in Jean Barraqué's ''Le temps restitué''". ''Perspectives of New Music'' 53, no. 2 (Summer): 5–53.
*Henrich, Heribert. 1987. "Des Techniques sérielles dans le ‘Temps Restitué,’ " ''Entretemps'' 5:74–88.
*Herfert, Franz Joseph. 1993. "Le temps restitué in analytischer Betrachtung, oder Von der wiederhergestellten Zeit". In ''Jean Barraqué, Musik-Konzepte: die Reihe über Komponisten'' 82. Munich: Text + Kritik.
*Hopkins, Bill. 1978. "Barraqué and the Serial Idea". ''Proceedings of the Royal Musical Association'', no. 105:13–24.
[[Category :Compositions by Jean Barraqué]]
[[Category :1957 compositions]]
[[Category :1968 compositions]]' |
Unified diff of changes made by edit (edit_diff) | '@@ -1,1 +1,42 @@
+{{italic title}}
+'''''Le Temps restitué''''' (Time Regiven) is a work for mezzosoprano solo, choir, and orchestra by the French composer [[Jean Barraqué]]. It was both the first part to have been begun and the last one to be completed in his projected but unfinished cycle of works based on [[Hermann Broch]]’s novel, ''[[The Death of Virgil]]''.
+==History==
+In March 1956, Barraqué first formed a plan to set passages, in the French translation by Albert Kohn, from the second book of Hermann Broch’s novel ''The Death of Virgil'', and straightaway began composing ''Le Temps restitué''. He finished a first draft in Paris on 20 October 1957, and then added a new beginning and cover page dated 11 December of the same year. In this respect, it forms the basis for all the subsequent works in the cycle {{harv|Henrich|1997|loc=121}}. He then devised a revised plan for the cycle which included details of the intended orchestration of ''Le Temps restitué'', but set aside the draft in favour of other projects. It was only in the summer of 1967 that the offer of a performance at next year’s [[Royan Festival]] rekindled Barraqué’s interest and he resumed work on the score, completing it in Florence on 8 February 1968. The first performance took place on 4 April 1968, as part of the Royan Festival. [[Helga Pilarczyk]] was the soprano soloist, with members of the French Radio Choir (prepared by Jean-Paul Kréder) and the Ensemble du Domaine Musical, conducted by [[Gilbert Amy]]. The same forces gave the first Paris performance at a [[Domaine Musical]] concert in the [[Odéon-Théâtre de l'Europe|Théâtre de l’Odéon]] on 25 April 1968. There was only one further performance during the composer’s lifetime, on 9 April 1973, at the [[Office de Radiodiffusion Télévision Française|Maison de l’O.R.T.F.]] in Paris with Anne Bartelloni (soprano), the French Radio chamber choir (using three voices on a part instead of twelve soloists), and the Ars Nova ensemble, conducted by Jean-Paul Kréder ({{harvnb|Griffiths|2003|loc=98–99}}; {{harvnb|Janzen|1989|loc=240–42}}). The third performance was the US premiere, and took place on 10 August 1978 at the [[Tanglewood Music Festival]] in Lenox, Massachusetts, with the Berkshire Music Center Orchestra conducted by [[Gunther Schuller]] ({{harvnb|Henahan|1978}}; {{harvnb| Dyer|1978}}).
+
+On 1 October 1970, Barraqué began what was meant to be a related work, titled ''Arraché de … commentaire en forme de lecture du Temps restitué'', but it did not extend beyond a preliminary sketch for clarinets on three staves and the entry of an SATB chorus marked "Sprechstimme. Imprecise pitches but different in pitch register" {{harv|Janzen|1989|loc=243}}.
+
+==Analysis==
+The work is in five movements, performed without a break:
+#La loi et le temps (Law and Time)
+#Symbole de nuit (Symbol of Night)
+#Portail de la terreur (Gate of Terror)
+#L’inachèvement sans cesse (Unceasing Incompletion)
+#Car ce n’est que par l’erreur (For Only Amidst Error)
+It is scored for solo soprano, a choir of twelve solo singers, and an orchestra of twenty-eight players made up of roughly equal numbers of woodwinds, strings, and percussion {{harv|Griffiths|2003|loc=99}}.
+
+The text is taken from a passage in Broch’s novel where [[Virgil]], alone in his room, late at night, contemplates the stars from his window. It is a meditation on the marriage of law and time, of the inevitable and the unpredictable {{harv|Griffiths|2003|loc=100}}. It follows the linear arrangement of about six pages of Broch's text. The texts of the first, third, and fifth movements are three [[Elegy|elegies]] in verse, taken without alteration from Broch’s novel. The second and fourth movements intersperse lightly edited prose passages from Broch’s surrounding narrative framework. Barraqué's omissions from the prose texts avoid many typical Brochian stylistic features in favour of its distinctive rhythm, retaining aspects of designation, assertion, and description. The syntax of the French translation permits Barraqué to end on the words "ouvert à la connaissance" (open to perception), which would not have been possible in the German original. In this way, "réconfort terrestre" (consolation in the earthly) becomes more important than the opening to perception {{harv|Hiekel and Stašková|2009|loc=165}}.
+
+The first movement opens with an orchestral introduction, followed by a four-voiced chorus in shifting tempos. The second movement is slower, with the solo soprano singing for the first time, against an orchestral accompaniment. The movement ends with the words "libérée du hasard" (freed from chance) which, in Broch’s novel, lead directly into the second elegy. The third movement, setting this elegy, is longer and more complex, questioning how eternal truth is to be found within human mutability. The chorus sings four independent layers of text in twelve parts, "colliding and chaotic" (according to the score's instructions) against the soprano’s cantabile, then adopts a more settled four-part texture to complete the movement as an aria with choral accompaniment. The fourth movement returns to the slower tempo and fragmented manner of the second movement, only now adding the chorus to the soprano and orchestra. It consists of two large sections of text setting, separated by a two-minute wordless interlude for chorus and orchestra. The concluding text once again ends with the words Broch uses to introduce the following elegiac verse “car ce n'est que dans l'erreur, ce n'est que par erreur” (because only amidst error, it is only through error). The final verse setting is slower still, though with constantly changing tempos. The soloist appears less often in this movement, while the choir is texturally more complex, at one point presenting twelve different lines of text simultaneously {{harv|Griffiths|2003|loc=100–102}}.
+
+== Discography ==
+* ''Jean Barraqué: Concerto; Le Temps restitué''. Anne Bartelloni (mezzo-soprano), Groupe Vocal de France, and [[Ensemble 2e2m]], conducted by [[Paul Méfano]]. Recorded January 1987 at Studio 103, Radio France. CD recording, 1 disc: 12 cm, stereo. Harmonia Mundi 905199. Arles: Harmonia Mundi, 1987.
+* ''Jean Barraqué: Œuvres complètes''. Rosemary Hardy (mezzo-soprano), Vokalensemble NOVA Wien (Colin Mason, chorus master), and [[Klangforum Wien]] conducted by [[Sylvain Cambreling]]. Recorded 20–21 September 1995, in the Konzerthaus Mozartsaal, Vienna. CD recording, 3 discs: 12 cm, stereo. CPO 999 569-2. Musique française d'aujourd'hui. Georgsmarienhütte: Classic Produktion Osnabruck, 1998.
+
+==References==
+* {{wikicite|ref={{harvid|Dyer|1978}}|reference=Dyer, Richard. 1978. "US Premiere Closes Fromm Fest". ''The Boston Globe'' (12 August): 9.}}
+* {{wikicite|ref={{harvid|Griffiths|2003}}|reference=[[Paul Griffiths (writer)|Griffiths, Paul]]. 2003. ''The Sea on Fire: Jean Barraqué''. Eastman Studies in Music 25. Rochester: University of Rochester Press. {{ISBN|978-1580461412}}}}
+* {{wikicite|ref={{harvid|Henahan|1978}}|reference=Henahan, Donal. 1978. "Tanglewood to Shine Spotlight on the Obscure". ''The New York Times'' (Monday, 31 July): C16.}}
+* {{wikicite|ref={{harvid|Henrich|1997}}|reference=Henrich, Heribert. 1997. ''Das Werk Jean Barraqués: Genese und Faktur''. Kassel: Bärenreiter. ISBN 9783761813867.}}
+*{{wikicite|ref={{harvid|Hiekel and Stašková |2009}}|reference=Hiekel, Jörn Peter, and Alice Stašková. 2009. "Der Tod des Vergil: Broch-Vertonungen des Komponisten Jean Barraqué". In ''Hermann Broch und die Künste'', edited by Alice Stašková and Paul Michael Lützeler, 157–82. Berlin: Walter de Gruyter GmbH & Co. KG.ISBN 978-3-11-020955-6.}}
+* {{wikicite|ref={{harvid|Janzen|1989}}|reference=Janzen, Rose-Marie. 1989. "A Biographical Chronology of Jean Barraqué", translated by Adrian Jack. ''Perspectives of New Music'' 27, no. 1 (Winter): 234–45.}}
+
+==Further reading==
+*Hayes, Aaron. 2015. "Death, Creativity, and Voice in Jean Barraqué's ''Le temps restitué''". ''Perspectives of New Music'' 53, no. 2 (Summer): 5–53.
+*Henrich, Heribert. 1987. "Des Techniques sérielles dans le ‘Temps Restitué,’ " ''Entretemps'' 5:74–88.
+*Herfert, Franz Joseph. 1993. "Le temps restitué in analytischer Betrachtung, oder Von der wiederhergestellten Zeit". In ''Jean Barraqué, Musik-Konzepte: die Reihe über Komponisten'' 82. Munich: Text + Kritik.
+*Hopkins, Bill. 1978. "Barraqué and the Serial Idea". ''Proceedings of the Royal Musical Association'', no. 105:13–24.
+
+[[Category :Compositions by Jean Barraqué]]
+[[Category :1957 compositions]]
+[[Category :1968 compositions]]
' |
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Old page size (old_size) | 0 |
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0 => '{{italic title}}',
1 => ''''''Le Temps restitué''''' (Time Regiven) is a work for mezzosoprano solo, choir, and orchestra by the French composer [[Jean Barraqué]]. It was both the first part to have been begun and the last one to be completed in his projected but unfinished cycle of works based on [[Hermann Broch]]’s novel, ''[[The Death of Virgil]]''.',
2 => '==History==',
3 => 'In March 1956, Barraqué first formed a plan to set passages, in the French translation by Albert Kohn, from the second book of Hermann Broch’s novel ''The Death of Virgil'', and straightaway began composing ''Le Temps restitué''. He finished a first draft in Paris on 20 October 1957, and then added a new beginning and cover page dated 11 December of the same year. In this respect, it forms the basis for all the subsequent works in the cycle {{harv|Henrich|1997|loc=121}}. He then devised a revised plan for the cycle which included details of the intended orchestration of ''Le Temps restitué'', but set aside the draft in favour of other projects. It was only in the summer of 1967 that the offer of a performance at next year’s [[Royan Festival]] rekindled Barraqué’s interest and he resumed work on the score, completing it in Florence on 8 February 1968. The first performance took place on 4 April 1968, as part of the Royan Festival. [[Helga Pilarczyk]] was the soprano soloist, with members of the French Radio Choir (prepared by Jean-Paul Kréder) and the Ensemble du Domaine Musical, conducted by [[Gilbert Amy]]. The same forces gave the first Paris performance at a [[Domaine Musical]] concert in the [[Odéon-Théâtre de l'Europe|Théâtre de l’Odéon]] on 25 April 1968. There was only one further performance during the composer’s lifetime, on 9 April 1973, at the [[Office de Radiodiffusion Télévision Française|Maison de l’O.R.T.F.]] in Paris with Anne Bartelloni (soprano), the French Radio chamber choir (using three voices on a part instead of twelve soloists), and the Ars Nova ensemble, conducted by Jean-Paul Kréder ({{harvnb|Griffiths|2003|loc=98–99}}; {{harvnb|Janzen|1989|loc=240–42}}). The third performance was the US premiere, and took place on 10 August 1978 at the [[Tanglewood Music Festival]] in Lenox, Massachusetts, with the Berkshire Music Center Orchestra conducted by [[Gunther Schuller]] ({{harvnb|Henahan|1978}}; {{harvnb| Dyer|1978}}).',
4 => false,
5 => 'On 1 October 1970, Barraqué began what was meant to be a related work, titled ''Arraché de … commentaire en forme de lecture du Temps restitué'', but it did not extend beyond a preliminary sketch for clarinets on three staves and the entry of an SATB chorus marked "Sprechstimme. Imprecise pitches but different in pitch register" {{harv|Janzen|1989|loc=243}}.',
6 => false,
7 => '==Analysis==',
8 => 'The work is in five movements, performed without a break:',
9 => '#La loi et le temps (Law and Time)',
10 => '#Symbole de nuit (Symbol of Night)',
11 => '#Portail de la terreur (Gate of Terror)',
12 => '#L’inachèvement sans cesse (Unceasing Incompletion)',
13 => '#Car ce n’est que par l’erreur (For Only Amidst Error)',
14 => 'It is scored for solo soprano, a choir of twelve solo singers, and an orchestra of twenty-eight players made up of roughly equal numbers of woodwinds, strings, and percussion {{harv|Griffiths|2003|loc=99}}.',
15 => false,
16 => 'The text is taken from a passage in Broch’s novel where [[Virgil]], alone in his room, late at night, contemplates the stars from his window. It is a meditation on the marriage of law and time, of the inevitable and the unpredictable {{harv|Griffiths|2003|loc=100}}. It follows the linear arrangement of about six pages of Broch's text. The texts of the first, third, and fifth movements are three [[Elegy|elegies]] in verse, taken without alteration from Broch’s novel. The second and fourth movements intersperse lightly edited prose passages from Broch’s surrounding narrative framework. Barraqué's omissions from the prose texts avoid many typical Brochian stylistic features in favour of its distinctive rhythm, retaining aspects of designation, assertion, and description. The syntax of the French translation permits Barraqué to end on the words "ouvert à la connaissance" (open to perception), which would not have been possible in the German original. In this way, "réconfort terrestre" (consolation in the earthly) becomes more important than the opening to perception {{harv|Hiekel and Stašková|2009|loc=165}}.',
17 => false,
18 => 'The first movement opens with an orchestral introduction, followed by a four-voiced chorus in shifting tempos. The second movement is slower, with the solo soprano singing for the first time, against an orchestral accompaniment. The movement ends with the words "libérée du hasard" (freed from chance) which, in Broch’s novel, lead directly into the second elegy. The third movement, setting this elegy, is longer and more complex, questioning how eternal truth is to be found within human mutability. The chorus sings four independent layers of text in twelve parts, "colliding and chaotic" (according to the score's instructions) against the soprano’s cantabile, then adopts a more settled four-part texture to complete the movement as an aria with choral accompaniment. The fourth movement returns to the slower tempo and fragmented manner of the second movement, only now adding the chorus to the soprano and orchestra. It consists of two large sections of text setting, separated by a two-minute wordless interlude for chorus and orchestra. The concluding text once again ends with the words Broch uses to introduce the following elegiac verse “car ce n'est que dans l'erreur, ce n'est que par erreur” (because only amidst error, it is only through error). The final verse setting is slower still, though with constantly changing tempos. The soloist appears less often in this movement, while the choir is texturally more complex, at one point presenting twelve different lines of text simultaneously {{harv|Griffiths|2003|loc=100–102}}.',
19 => false,
20 => '== Discography ==',
21 => '* ''Jean Barraqué: Concerto; Le Temps restitué''. Anne Bartelloni (mezzo-soprano), Groupe Vocal de France, and [[Ensemble 2e2m]], conducted by [[Paul Méfano]]. Recorded January 1987 at Studio 103, Radio France. CD recording, 1 disc: 12 cm, stereo. Harmonia Mundi 905199. Arles: Harmonia Mundi, 1987.',
22 => '* ''Jean Barraqué: Œuvres complètes''. Rosemary Hardy (mezzo-soprano), Vokalensemble NOVA Wien (Colin Mason, chorus master), and [[Klangforum Wien]] conducted by [[Sylvain Cambreling]]. Recorded 20–21 September 1995, in the Konzerthaus Mozartsaal, Vienna. CD recording, 3 discs: 12 cm, stereo. CPO 999 569-2. Musique française d'aujourd'hui. Georgsmarienhütte: Classic Produktion Osnabruck, 1998.',
23 => false,
24 => '==References==',
25 => '* {{wikicite|ref={{harvid|Dyer|1978}}|reference=Dyer, Richard. 1978. "US Premiere Closes Fromm Fest". ''The Boston Globe'' (12 August): 9.}}',
26 => '* {{wikicite|ref={{harvid|Griffiths|2003}}|reference=[[Paul Griffiths (writer)|Griffiths, Paul]]. 2003. ''The Sea on Fire: Jean Barraqué''. Eastman Studies in Music 25. Rochester: University of Rochester Press. {{ISBN|978-1580461412}}}}',
27 => '* {{wikicite|ref={{harvid|Henahan|1978}}|reference=Henahan, Donal. 1978. "Tanglewood to Shine Spotlight on the Obscure". ''The New York Times'' (Monday, 31 July): C16.}}',
28 => '* {{wikicite|ref={{harvid|Henrich|1997}}|reference=Henrich, Heribert. 1997. ''Das Werk Jean Barraqués: Genese und Faktur''. Kassel: Bärenreiter. ISBN 9783761813867.}}',
29 => '*{{wikicite|ref={{harvid|Hiekel and Stašková |2009}}|reference=Hiekel, Jörn Peter, and Alice Stašková. 2009. "Der Tod des Vergil: Broch-Vertonungen des Komponisten Jean Barraqué". In ''Hermann Broch und die Künste'', edited by Alice Stašková and Paul Michael Lützeler, 157–82. Berlin: Walter de Gruyter GmbH & Co. KG.ISBN 978-3-11-020955-6.}}',
30 => '* {{wikicite|ref={{harvid|Janzen|1989}}|reference=Janzen, Rose-Marie. 1989. "A Biographical Chronology of Jean Barraqué", translated by Adrian Jack. ''Perspectives of New Music'' 27, no. 1 (Winter): 234–45.}}',
31 => false,
32 => '==Further reading==',
33 => '*Hayes, Aaron. 2015. "Death, Creativity, and Voice in Jean Barraqué's ''Le temps restitué''". ''Perspectives of New Music'' 53, no. 2 (Summer): 5–53.',
34 => '*Henrich, Heribert. 1987. "Des Techniques sérielles dans le ‘Temps Restitué,’ " ''Entretemps'' 5:74–88.',
35 => '*Herfert, Franz Joseph. 1993. "Le temps restitué in analytischer Betrachtung, oder Von der wiederhergestellten Zeit". In ''Jean Barraqué, Musik-Konzepte: die Reihe über Komponisten'' 82. Munich: Text + Kritik.',
36 => '*Hopkins, Bill. 1978. "Barraqué and the Serial Idea". ''Proceedings of the Royal Musical Association'', no. 105:13–24.',
37 => false,
38 => '[[Category :Compositions by Jean Barraqué]]',
39 => '[[Category :1957 compositions]]',
40 => '[[Category :1968 compositions]]'
] |
Lines removed in edit (removed_lines) | [] |
New page wikitext, pre-save transformed (new_pst) | '{{italic title}}
'''''Le Temps restitué''''' (Time Regiven) is a work for mezzosoprano solo, choir, and orchestra by the French composer [[Jean Barraqué]]. It was both the first part to have been begun and the last one to be completed in his projected but unfinished cycle of works based on [[Hermann Broch]]’s novel, ''[[The Death of Virgil]]''.
==History==
In March 1956, Barraqué first formed a plan to set passages, in the French translation by Albert Kohn, from the second book of Hermann Broch’s novel ''The Death of Virgil'', and straightaway began composing ''Le Temps restitué''. He finished a first draft in Paris on 20 October 1957, and then added a new beginning and cover page dated 11 December of the same year. In this respect, it forms the basis for all the subsequent works in the cycle {{harv|Henrich|1997|loc=121}}. He then devised a revised plan for the cycle which included details of the intended orchestration of ''Le Temps restitué'', but set aside the draft in favour of other projects. It was only in the summer of 1967 that the offer of a performance at next year’s [[Royan Festival]] rekindled Barraqué’s interest and he resumed work on the score, completing it in Florence on 8 February 1968. The first performance took place on 4 April 1968, as part of the Royan Festival. [[Helga Pilarczyk]] was the soprano soloist, with members of the French Radio Choir (prepared by Jean-Paul Kréder) and the Ensemble du Domaine Musical, conducted by [[Gilbert Amy]]. The same forces gave the first Paris performance at a [[Domaine Musical]] concert in the [[Odéon-Théâtre de l'Europe|Théâtre de l’Odéon]] on 25 April 1968. There was only one further performance during the composer’s lifetime, on 9 April 1973, at the [[Office de Radiodiffusion Télévision Française|Maison de l’O.R.T.F.]] in Paris with Anne Bartelloni (soprano), the French Radio chamber choir (using three voices on a part instead of twelve soloists), and the Ars Nova ensemble, conducted by Jean-Paul Kréder ({{harvnb|Griffiths|2003|loc=98–99}}; {{harvnb|Janzen|1989|loc=240–42}}). The third performance was the US premiere, and took place on 10 August 1978 at the [[Tanglewood Music Festival]] in Lenox, Massachusetts, with the Berkshire Music Center Orchestra conducted by [[Gunther Schuller]] ({{harvnb|Henahan|1978}}; {{harvnb| Dyer|1978}}).
On 1 October 1970, Barraqué began what was meant to be a related work, titled ''Arraché de … commentaire en forme de lecture du Temps restitué'', but it did not extend beyond a preliminary sketch for clarinets on three staves and the entry of an SATB chorus marked "Sprechstimme. Imprecise pitches but different in pitch register" {{harv|Janzen|1989|loc=243}}.
==Analysis==
The work is in five movements, performed without a break:
#La loi et le temps (Law and Time)
#Symbole de nuit (Symbol of Night)
#Portail de la terreur (Gate of Terror)
#L’inachèvement sans cesse (Unceasing Incompletion)
#Car ce n’est que par l’erreur (For Only Amidst Error)
It is scored for solo soprano, a choir of twelve solo singers, and an orchestra of twenty-eight players made up of roughly equal numbers of woodwinds, strings, and percussion {{harv|Griffiths|2003|loc=99}}.
The text is taken from a passage in Broch’s novel where [[Virgil]], alone in his room, late at night, contemplates the stars from his window. It is a meditation on the marriage of law and time, of the inevitable and the unpredictable {{harv|Griffiths|2003|loc=100}}. It follows the linear arrangement of about six pages of Broch's text. The texts of the first, third, and fifth movements are three [[Elegy|elegies]] in verse, taken without alteration from Broch’s novel. The second and fourth movements intersperse lightly edited prose passages from Broch’s surrounding narrative framework. Barraqué's omissions from the prose texts avoid many typical Brochian stylistic features in favour of its distinctive rhythm, retaining aspects of designation, assertion, and description. The syntax of the French translation permits Barraqué to end on the words "ouvert à la connaissance" (open to perception), which would not have been possible in the German original. In this way, "réconfort terrestre" (consolation in the earthly) becomes more important than the opening to perception {{harv|Hiekel and Stašková|2009|loc=165}}.
The first movement opens with an orchestral introduction, followed by a four-voiced chorus in shifting tempos. The second movement is slower, with the solo soprano singing for the first time, against an orchestral accompaniment. The movement ends with the words "libérée du hasard" (freed from chance) which, in Broch’s novel, lead directly into the second elegy. The third movement, setting this elegy, is longer and more complex, questioning how eternal truth is to be found within human mutability. The chorus sings four independent layers of text in twelve parts, "colliding and chaotic" (according to the score's instructions) against the soprano’s cantabile, then adopts a more settled four-part texture to complete the movement as an aria with choral accompaniment. The fourth movement returns to the slower tempo and fragmented manner of the second movement, only now adding the chorus to the soprano and orchestra. It consists of two large sections of text setting, separated by a two-minute wordless interlude for chorus and orchestra. The concluding text once again ends with the words Broch uses to introduce the following elegiac verse “car ce n'est que dans l'erreur, ce n'est que par erreur” (because only amidst error, it is only through error). The final verse setting is slower still, though with constantly changing tempos. The soloist appears less often in this movement, while the choir is texturally more complex, at one point presenting twelve different lines of text simultaneously {{harv|Griffiths|2003|loc=100–102}}.
== Discography ==
* ''Jean Barraqué: Concerto; Le Temps restitué''. Anne Bartelloni (mezzo-soprano), Groupe Vocal de France, and [[Ensemble 2e2m]], conducted by [[Paul Méfano]]. Recorded January 1987 at Studio 103, Radio France. CD recording, 1 disc: 12 cm, stereo. Harmonia Mundi 905199. Arles: Harmonia Mundi, 1987.
* ''Jean Barraqué: Œuvres complètes''. Rosemary Hardy (mezzo-soprano), Vokalensemble NOVA Wien (Colin Mason, chorus master), and [[Klangforum Wien]] conducted by [[Sylvain Cambreling]]. Recorded 20–21 September 1995, in the Konzerthaus Mozartsaal, Vienna. CD recording, 3 discs: 12 cm, stereo. CPO 999 569-2. Musique française d'aujourd'hui. Georgsmarienhütte: Classic Produktion Osnabruck, 1998.
==References==
* {{wikicite|ref={{harvid|Dyer|1978}}|reference=Dyer, Richard. 1978. "US Premiere Closes Fromm Fest". ''The Boston Globe'' (12 August): 9.}}
* {{wikicite|ref={{harvid|Griffiths|2003}}|reference=[[Paul Griffiths (writer)|Griffiths, Paul]]. 2003. ''The Sea on Fire: Jean Barraqué''. Eastman Studies in Music 25. Rochester: University of Rochester Press. {{ISBN|978-1580461412}}}}
* {{wikicite|ref={{harvid|Henahan|1978}}|reference=Henahan, Donal. 1978. "Tanglewood to Shine Spotlight on the Obscure". ''The New York Times'' (Monday, 31 July): C16.}}
* {{wikicite|ref={{harvid|Henrich|1997}}|reference=Henrich, Heribert. 1997. ''Das Werk Jean Barraqués: Genese und Faktur''. Kassel: Bärenreiter. ISBN 9783761813867.}}
*{{wikicite|ref={{harvid|Hiekel and Stašková |2009}}|reference=Hiekel, Jörn Peter, and Alice Stašková. 2009. "Der Tod des Vergil: Broch-Vertonungen des Komponisten Jean Barraqué". In ''Hermann Broch und die Künste'', edited by Alice Stašková and Paul Michael Lützeler, 157–82. Berlin: Walter de Gruyter GmbH & Co. KG.ISBN 978-3-11-020955-6.}}
* {{wikicite|ref={{harvid|Janzen|1989}}|reference=Janzen, Rose-Marie. 1989. "A Biographical Chronology of Jean Barraqué", translated by Adrian Jack. ''Perspectives of New Music'' 27, no. 1 (Winter): 234–45.}}
==Further reading==
*Hayes, Aaron. 2015. "Death, Creativity, and Voice in Jean Barraqué's ''Le temps restitué''". ''Perspectives of New Music'' 53, no. 2 (Summer): 5–53.
*Henrich, Heribert. 1987. "Des Techniques sérielles dans le ‘Temps Restitué,’ " ''Entretemps'' 5:74–88.
*Herfert, Franz Joseph. 1993. "Le temps restitué in analytischer Betrachtung, oder Von der wiederhergestellten Zeit". In ''Jean Barraqué, Musik-Konzepte: die Reihe über Komponisten'' 82. Munich: Text + Kritik.
*Hopkins, Bill. 1978. "Barraqué and the Serial Idea". ''Proceedings of the Royal Musical Association'', no. 105:13–24.
[[Category :Compositions by Jean Barraqué]]
[[Category :1957 compositions]]
[[Category :1968 compositions]]' |
Parsed HTML source of the new revision (new_html) | '<div class="mw-parser-output"><p><i><b>Le Temps restitué</b></i> (Time Regiven) is a work for mezzosoprano solo, choir, and orchestra by the French composer <a href="/https/en.m.wikipedia.org/wiki/Jean_Barraqu%C3%A9" title="Jean Barraqué">Jean Barraqué</a>. It was both the first part to have been begun and the last one to be completed in his projected but unfinished cycle of works based on <a href="/https/en.m.wikipedia.org/wiki/Hermann_Broch" title="Hermann Broch">Hermann Broch</a>’s novel, <i><a href="/https/en.m.wikipedia.org/wiki/The_Death_of_Virgil" title="The Death of Virgil">The Death of Virgil</a></i>.</p>
<p></p>
<div id="toc" class="toc">
<div class="toctitle">
<h2>Contents</h2>
</div>
<ul>
<li class="toclevel-1 tocsection-1"><a href="#History"><span class="tocnumber">1</span> <span class="toctext">History</span></a></li>
<li class="toclevel-1 tocsection-2"><a href="#Analysis"><span class="tocnumber">2</span> <span class="toctext">Analysis</span></a></li>
<li class="toclevel-1 tocsection-3"><a href="#Discography"><span class="tocnumber">3</span> <span class="toctext">Discography</span></a></li>
<li class="toclevel-1 tocsection-4"><a href="#References"><span class="tocnumber">4</span> <span class="toctext">References</span></a></li>
<li class="toclevel-1 tocsection-5"><a href="#Further_reading"><span class="tocnumber">5</span> <span class="toctext">Further reading</span></a></li>
</ul>
</div>
<p></p>
<h2><span class="mw-headline" id="History">History</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/https/en.m.wikipedia.org/w/index.php?title=Le_Temps_restitu%C3%A9&action=edit&section=1" title="Edit section: History">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>In March 1956, Barraqué first formed a plan to set passages, in the French translation by Albert Kohn, from the second book of Hermann Broch’s novel <i>The Death of Virgil</i>, and straightaway began composing <i>Le Temps restitué</i>. He finished a first draft in Paris on 20 October 1957, and then added a new beginning and cover page dated 11 December of the same year. In this respect, it forms the basis for all the subsequent works in the cycle (<a href="#CITEREFHenrich1997">Henrich 1997</a>, 121). He then devised a revised plan for the cycle which included details of the intended orchestration of <i>Le Temps restitué</i>, but set aside the draft in favour of other projects. It was only in the summer of 1967 that the offer of a performance at next year’s <a href="/https/en.m.wikipedia.org/wiki/Royan_Festival" title="Royan Festival">Royan Festival</a> rekindled Barraqué’s interest and he resumed work on the score, completing it in Florence on 8 February 1968. The first performance took place on 4 April 1968, as part of the Royan Festival. <a href="/https/en.m.wikipedia.org/wiki/Helga_Pilarczyk" title="Helga Pilarczyk">Helga Pilarczyk</a> was the soprano soloist, with members of the French Radio Choir (prepared by Jean-Paul Kréder) and the Ensemble du Domaine Musical, conducted by <a href="/https/en.m.wikipedia.org/wiki/Gilbert_Amy" title="Gilbert Amy">Gilbert Amy</a>. The same forces gave the first Paris performance at a <a href="/https/en.m.wikipedia.org/wiki/Domaine_Musical" class="mw-redirect" title="Domaine Musical">Domaine Musical</a> concert in the <a href="/https/en.m.wikipedia.org/wiki/Od%C3%A9on-Th%C3%A9%C3%A2tre_de_l%27Europe" title="Odéon-Théâtre de l'Europe">Théâtre de l’Odéon</a> on 25 April 1968. There was only one further performance during the composer’s lifetime, on 9 April 1973, at the <a href="/https/en.m.wikipedia.org/wiki/Office_de_Radiodiffusion_T%C3%A9l%C3%A9vision_Fran%C3%A7aise" title="Office de Radiodiffusion Télévision Française">Maison de l’O.R.T.F.</a> in Paris with Anne Bartelloni (soprano), the French Radio chamber choir (using three voices on a part instead of twelve soloists), and the Ars Nova ensemble, conducted by Jean-Paul Kréder (<a href="#CITEREFGriffiths2003">Griffiths 2003</a>, 98–99; <a href="#CITEREFJanzen1989">Janzen 1989</a>, 240–42). The third performance was the US premiere, and took place on 10 August 1978 at the <a href="/https/en.m.wikipedia.org/wiki/Tanglewood_Music_Festival" title="Tanglewood Music Festival">Tanglewood Music Festival</a> in Lenox, Massachusetts, with the Berkshire Music Center Orchestra conducted by <a href="/https/en.m.wikipedia.org/wiki/Gunther_Schuller" title="Gunther Schuller">Gunther Schuller</a> (<a href="#CITEREFHenahan1978">Henahan 1978</a>; <a href="#CITEREFDyer1978">Dyer 1978</a>).</p>
<p>On 1 October 1970, Barraqué began what was meant to be a related work, titled <i>Arraché de … commentaire en forme de lecture du Temps restitué</i>, but it did not extend beyond a preliminary sketch for clarinets on three staves and the entry of an SATB chorus marked "Sprechstimme. Imprecise pitches but different in pitch register" (<a href="#CITEREFJanzen1989">Janzen 1989</a>, 243).</p>
<h2><span class="mw-headline" id="Analysis">Analysis</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/https/en.m.wikipedia.org/w/index.php?title=Le_Temps_restitu%C3%A9&action=edit&section=2" title="Edit section: Analysis">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The work is in five movements, performed without a break:</p>
<ol>
<li>La loi et le temps (Law and Time)</li>
<li>Symbole de nuit (Symbol of Night)</li>
<li>Portail de la terreur (Gate of Terror)</li>
<li>L’inachèvement sans cesse (Unceasing Incompletion)</li>
<li>Car ce n’est que par l’erreur (For Only Amidst Error)</li>
</ol>
<p>It is scored for solo soprano, a choir of twelve solo singers, and an orchestra of twenty-eight players made up of roughly equal numbers of woodwinds, strings, and percussion (<a href="#CITEREFGriffiths2003">Griffiths 2003</a>, 99).</p>
<p>The text is taken from a passage in Broch’s novel where <a href="/https/en.m.wikipedia.org/wiki/Virgil" title="Virgil">Virgil</a>, alone in his room, late at night, contemplates the stars from his window. It is a meditation on the marriage of law and time, of the inevitable and the unpredictable (<a href="#CITEREFGriffiths2003">Griffiths 2003</a>, 100). It follows the linear arrangement of about six pages of Broch's text. The texts of the first, third, and fifth movements are three <a href="/https/en.m.wikipedia.org/wiki/Elegy" title="Elegy">elegies</a> in verse, taken without alteration from Broch’s novel. The second and fourth movements intersperse lightly edited prose passages from Broch’s surrounding narrative framework. Barraqué's omissions from the prose texts avoid many typical Brochian stylistic features in favour of its distinctive rhythm, retaining aspects of designation, assertion, and description. The syntax of the French translation permits Barraqué to end on the words "ouvert à la connaissance" (open to perception), which would not have been possible in the German original. In this way, "réconfort terrestre" (consolation in the earthly) becomes more important than the opening to perception (<a href="#CITEREFHiekel_and_Sta.C5.A1kov.C3.A12009">Hiekel and Stašková 2009</a>, 165).</p>
<p>The first movement opens with an orchestral introduction, followed by a four-voiced chorus in shifting tempos. The second movement is slower, with the solo soprano singing for the first time, against an orchestral accompaniment. The movement ends with the words "libérée du hasard" (freed from chance) which, in Broch’s novel, lead directly into the second elegy. The third movement, setting this elegy, is longer and more complex, questioning how eternal truth is to be found within human mutability. The chorus sings four independent layers of text in twelve parts, "colliding and chaotic" (according to the score's instructions) against the soprano’s cantabile, then adopts a more settled four-part texture to complete the movement as an aria with choral accompaniment. The fourth movement returns to the slower tempo and fragmented manner of the second movement, only now adding the chorus to the soprano and orchestra. It consists of two large sections of text setting, separated by a two-minute wordless interlude for chorus and orchestra. The concluding text once again ends with the words Broch uses to introduce the following elegiac verse “car ce n'est que dans l'erreur, ce n'est que par erreur” (because only amidst error, it is only through error). The final verse setting is slower still, though with constantly changing tempos. The soloist appears less often in this movement, while the choir is texturally more complex, at one point presenting twelve different lines of text simultaneously (<a href="#CITEREFGriffiths2003">Griffiths 2003</a>, 100–102).</p>
<h2><span class="mw-headline" id="Discography">Discography</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/https/en.m.wikipedia.org/w/index.php?title=Le_Temps_restitu%C3%A9&action=edit&section=3" title="Edit section: Discography">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<ul>
<li><i>Jean Barraqué: Concerto; Le Temps restitué</i>. Anne Bartelloni (mezzo-soprano), Groupe Vocal de France, and <a href="/https/en.m.wikipedia.org/wiki/Ensemble_2e2m" title="Ensemble 2e2m">Ensemble 2e2m</a>, conducted by <a href="/https/en.m.wikipedia.org/wiki/Paul_M%C3%A9fano" title="Paul Méfano">Paul Méfano</a>. Recorded January 1987 at Studio 103, Radio France. CD recording, 1 disc: 12 cm, stereo. Harmonia Mundi 905199. Arles: Harmonia Mundi, 1987.</li>
<li><i>Jean Barraqué: Œuvres complètes</i>. Rosemary Hardy (mezzo-soprano), Vokalensemble NOVA Wien (Colin Mason, chorus master), and <a href="/https/en.m.wikipedia.org/wiki/Klangforum_Wien" title="Klangforum Wien">Klangforum Wien</a> conducted by <a href="/https/en.m.wikipedia.org/wiki/Sylvain_Cambreling" title="Sylvain Cambreling">Sylvain Cambreling</a>. Recorded 20–21 September 1995, in the Konzerthaus Mozartsaal, Vienna. CD recording, 3 discs: 12 cm, stereo. CPO 999 569-2. Musique française d'aujourd'hui. Georgsmarienhütte: Classic Produktion Osnabruck, 1998.</li>
</ul>
<h2><span class="mw-headline" id="References">References</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/https/en.m.wikipedia.org/w/index.php?title=Le_Temps_restitu%C3%A9&action=edit&section=4" title="Edit section: References">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<ul>
<li><cite class="citation wikicite" id="CITEREFDyer1978">Dyer, Richard. 1978. "US Premiere Closes Fromm Fest". <i>The Boston Globe</i> (12 August): 9.</cite></li>
<li><cite class="citation wikicite" id="CITEREFGriffiths2003"><a href="/https/en.m.wikipedia.org/wiki/Paul_Griffiths_(writer)" title="Paul Griffiths (writer)">Griffiths, Paul</a>. 2003. <i>The Sea on Fire: Jean Barraqué</i>. Eastman Studies in Music 25. Rochester: University of Rochester Press. <a href="/https/en.m.wikipedia.org/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/https/en.m.wikipedia.org/wiki/Special:BookSources/978-1580461412" title="Special:BookSources/978-1580461412">978-1580461412</a></cite></li>
<li><cite class="citation wikicite" id="CITEREFHenahan1978">Henahan, Donal. 1978. "Tanglewood to Shine Spotlight on the Obscure". <i>The New York Times</i> (Monday, 31 July): C16.</cite></li>
<li><cite class="citation wikicite" id="CITEREFHenrich1997">Henrich, Heribert. 1997. <i>Das Werk Jean Barraqués: Genese und Faktur</i>. Kassel: Bärenreiter. <a href="/https/en.m.wikipedia.org/wiki/Special:BookSources/9783761813867" class="internal mw-magiclink-isbn">ISBN 9783761813867</a>.</cite></li>
<li><cite class="citation wikicite" id="CITEREFHiekel_and_Sta.C5.A1kov.C3.A12009">Hiekel, Jörn Peter, and Alice Stašková. 2009. "Der Tod des Vergil: Broch-Vertonungen des Komponisten Jean Barraqué". In <i>Hermann Broch und die Künste</i>, edited by Alice Stašková and Paul Michael Lützeler, 157–82. Berlin: Walter de Gruyter GmbH & Co. KG.<a href="/https/en.m.wikipedia.org/wiki/Special:BookSources/9783110209556" class="internal mw-magiclink-isbn">ISBN 978-3-11-020955-6</a>.</cite></li>
<li><cite class="citation wikicite" id="CITEREFJanzen1989">Janzen, Rose-Marie. 1989. "A Biographical Chronology of Jean Barraqué", translated by Adrian Jack. <i>Perspectives of New Music</i> 27, no. 1 (Winter): 234–45.</cite></li>
</ul>
<h2><span class="mw-headline" id="Further_reading">Further reading</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/https/en.m.wikipedia.org/w/index.php?title=Le_Temps_restitu%C3%A9&action=edit&section=5" title="Edit section: Further reading">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<ul>
<li>Hayes, Aaron. 2015. "Death, Creativity, and Voice in Jean Barraqué's <i>Le temps restitué</i>". <i>Perspectives of New Music</i> 53, no. 2 (Summer): 5–53.</li>
<li>Henrich, Heribert. 1987. "Des Techniques sérielles dans le ‘Temps Restitué,’ " <i>Entretemps</i> 5:74–88.</li>
<li>Herfert, Franz Joseph. 1993. "Le temps restitué in analytischer Betrachtung, oder Von der wiederhergestellten Zeit". In <i>Jean Barraqué, Musik-Konzepte: die Reihe über Komponisten</i> 82. Munich: Text + Kritik.</li>
<li>Hopkins, Bill. 1978. "Barraqué and the Serial Idea". <i>Proceedings of the Royal Musical Association</i>, no. 105:13–24.</li>
</ul>
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