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Approaching contemporary music

Nicolas Vérin

Conservatoire Iannis Xenakis, Evry

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Abstract

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This paper discusses various solutions found by concert organizers and by composers to ease

the reception of new music for a general audience. Evocative titles, program notes, other texts,

lecture-concerts, are explored. Staging concerts in new ways can also be a fertile path. A personal

experience is described in detail, based on the combination of two sensations: auditory and

gustatory. Sometimes it is best to just leave the listeners make their individual experience, as too

much explaining can dry out emotion and aesthetic pleasure. While the question remains deeply

personal and needs to be carefully adapted to each situation, it is clear that present-day organizers

but also composers cannot afford to ignore it.

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 Contemporary art music has presented for several decades a difficulty of approach to the

general public, resulting in an decreasing audience. This is due to several factors, but the main one

is the rupture with the tonal system, which remains the basic reference for almost everyone

(although it could be argued that today, pentatonic has replaced major and minor as the main mode

both in terms of what people hear and what they sing). Simultaneously, recording and mass

distribution has provided music with a much broader audience and turned it into a market. To make

things even more difficult, advances in research and increased awareness of the past has given to

classical (and baroque, medieval, etc.) music a larger than ever footprint. As François-Bernard

Mâche put it [footnote : Musique, Mythe, Nature ou les dauphins d'Arion. Paris: Méridiens

Klinckseck, 1991], the place of contemporary art music is then ever shrinking, caught in between

the supermarket and the museum.

Many composers have tried to provide an introduction to their music, given that musical

languages can be so different from one composer to another (or even sometime from one

composer's piece to another). However, this has produced a trend of texts which wording and

primarily intellectual stance seem to put away more people than they attract. The first sign of this

evolution has been the generalization of specific titles. Whereas there used to be sonatas, quartets

and symphonies, the XXth century has seen an increase in the use of titles, to the point where it

became the rule sometime after WW II. This is of course parallel to the evolution of music itself,

becoming through that period more and more remote from pre-existing moulds, and which style,

form, and even instrumental combination is ever more personalized. Not only each composer, but

each individual work has to call for attention on itself, provide clues to its stake, imaginary world,

or hint at a way it is to be approached. Listeners are compelled to find or at least to open up to as

many different listening attitudes, somewhat paralleling the change of visual approach for instance

between figurative and abstract painting. The use of specific titles is not enough and composers,
often requested to do so by concert organizers, provide text to introduce their music. Given that

many new music works do not get heard after their premiere performance, there is a sense of urge to

facilitate the first listening, so that something can be made out of it. I believe integral serialism from

the early 1950's [footnote : the principle of series applied not only to the twelve-tone row but also to

the other parameters such as rhythm, dynamics, and timbre, resulting in a non-hierarchic

organization, difficult to apprehend by mere listening] started to impose the point of view of the

composer to the listener. In effect, the latter is helpless if armed only by his ears and desperately

looks for something to hold on to. Therefore the conception tends to take precedence over the

perceptible result, the poietic process over the esthesic. Following Nattiez, it is necessary to

discriminate between poiesis - all deliberations and operations carried out by the composer in the

process of composing a work, and esthesis - the perceptual process and the assignment of meaning

to a work through its perception. [footnote : Nattiez, J-J. Music and Discourse: Toward a Semiology

of Music. Trans. Carolyn Abbate. Princeton: Princeton University Press, 1979) ]. Even though

serialism has taken place – as a strict practice – during a very short span of time, its negative impact

has been such that it still influences people, and has forged the myth of contemporary music,

through which following generations have apprehended it before even listening to it.

There is also a most common confusion today between art and experiment. Whereas in fact

each creation is experimental and the two notions are generally inseparable, many lay people tell us

contemporary music is experimental, thus discounting its artistic value and justifying their demand

for explanations so as to understand it. I believe this to be a false track, as in fact the point is not to

understand, but to open up to a different listening attitude. Granted, this is not necessarily a natural

and easy thing to do, but this confusion leads to another one : between intellect and sensitivity. If a

rational understanding of the work is put forward through explanations, this will necessarily be to

the detriment of a more sensuous approach. Yet we have here two complimentary facets of music. I
will even say, as my professor Pierre Schaeffer taught me, that musical pieces need in order to

succeed, to work on three levels : sound (materials, instantaneous, sensuous), musical (language,

structure, memory and anticipation) and a higher, extra-musical level ("meaning", poetical,

philosophical, spiritual, etc.) [footnote : Pierre Schaeffer, Traité des objets musicaux. Paris: Seuil,

1966. A translation in English, long awaited, is in process].

It is difficult to find one's way in the maze of today musical currents, with the burst of the very

notion of current. Individual composers are likely to vary considerably their approach from work to

work. Thus a common trend with listeners, musicologists, music critics, to base their perception of

new pieces less on listening than on texts about the music, that tend too often to become the

principal source of "understanding". It is not so rare that music critics write without even having

heard the music they speak of, believing nevertheless they have the right to express an opinion

merely based on program notes. I had myself this experience at a concert in Dijon, after which a

journalist believed he could accuse me of using a "self-justifying verbose gibberish ". Unfortunately

for him, the text he referred to was not written by myself. The Festival Why Note that year had

asked some musicology students to write analytical presentations. The evident distortion between

the journalist's paper and the concert reality, as experienced by a majority of the audience, showed

clearly - and it is difficult to know which is worse – either the absence of the critic during the last

part of the evening, or his total deafness. [footnote : Nicolas Vérin, "Droit de réponse." Le Bien

Public, Dijon, 20 december 1997, also available at http://www.nicolasverin.com/articles.html] Such

cases abound, when papers scarcely mention what has been heard, to concentrate on writings,

whether they be found in the program notes or elsewhere.

This can happen too with concert organizers, or other decision-makers in the music field (such

as reading panels). Their confidence in what they hear is not strong enough and they tend to ground

their appreciation on side elements (writings, reputation, renown of performers or publishers of the
previous works). It becomes even more serious when it reaches part of the audience. One frequently

sees in the arts, for example shows one "has" to see and where most people spend several minutes

to read the picture's names, dates and other pieces of information. Then they throw a mere glance to

the work itself, that deserves no more, since they now "know" most of what there is to know. In the

concert hall, this translates by an assiduous reading of program notes, which, added to the

composer's reputation, will so bias the listening experience, that the latter can hardly ever change

the previously established opinion.

What a paradox, when the essence of the musical work is indicible by definition, otherwise

composers would rather write poetry, or even prose! Program notes and other introductory texts

seem now to carry the whole weight to convey what music can bring. However, if music exists, one

can think it is precisely because it brings something irreplaceable that cannot be expressed

otherwise!

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Maybe the best way to fill the gap in comprehension is through lecture-concerts. A didactic

approach towards the general public has been much in fashion – at least in France - starting in the

60's, particularly with the large number of vulgarization talks given by Pierre Boulez around the

Domaine Musical concerts. This formula has continued with success throughout the next two

decades, with for example the weekly lecture- concerts at the Maison de Radio-France. But it seems

to have run out of steam or reached grotesque proportions. One could attend in 1991 the world

premiere of Pierre Boulez's new version of Explosante-Fixe at the Centre Pompidou in Paris. His

presentation, even though extremely well done and sometimes fascinating, lasted for an hour and

half, for a then six-minutes long work ! [foot note: it was the first stage of this version, much
developed since, following the "work in progress" principle dear to Boulez]. In any case, it remains

that if lecture-concerts appear to me beneficial in that they allow to go beyond the surface in a lively

and musical manner, they address a fringe of the audience, already motivated and partially

informed.

One can also, following the example of Xenakis, decide to limit the program notes to a strict

minimum, to purely factual information, so as to avoid journalistic deformations, partial quotations

making no sense, and especially bad interpretations. One could even eliminate them altogether,

though we know concert organizers generally quickly fill up the void by fishing a text from a paper

or any other source. One could require them to make the effort of presentation : it does seem to be

part of their function. But one risks getting extremely standardized and superficial texts. How then

can this new music be mediated?

I would like to relate here a particular attempt, that I was lucky enough to be able to carry out

thanks to an invitation by the Groupe de Musique Électroacoustique d'Albi. It deals with an

electroacoustic composition, In vino musica [foot note: featured in the CD "Musique des Vignes"

GMEA MP9201, distributed by Métamkine, www.metamkine.com], specially composed to be the

closure of the journey through the sonic show "Music of the Vines" installation presented over six

different rooms in 1992 at the Centre Culturel de l'Albigeois. It is made of five movements each

corresponding to a particular cépage (grape variety) indigenous to the Gaillac region. The music

was spatialized using an installation of eight loudspeakers and was accompanied by a tasting of five

wines made from the five pure cépages.

The G.M.E.A. (then composed of Thierry Besche and Roland Ossart, founders, and Vincent

Geais and Marc Pichelin), and later the group Ouïe-Dire, which is an emanation from the GMEA,

have carried on an extensive work on the notion of soundscape, first put forward by Murray

Schaffer [footnote : The Tuning of the world. New-York: A. Knopf., inc., 1977], or what they call
"géophonie". The idea is to concentrate on a particular area, defined for example as a

"canton" (administrative entity slightly larger than a village, that includes its surroundings). In a

period of several weeks, all possible observations will be made on the standpoint of sound, and

recordings made very carefully. Audition in studio on the material will allow selection, as well as

slight editing, processing or mixing, touching up in the manner of a photography. Such

"phonographies"; a term coined by François-Bernard Mâche [footnote: cf his piece Ianassa

(phonographie de l’eau n°2], are much in the line of art photography, where the artistic process lies

not in the creation of new material but in the capture of particular events happening at a given time

and place, framed and recorded in a (necessarily) subjective manner.

The outcome of the process is to "stage" the recordings in a showing taking place in the midst

of the canton, whether it be a museum, cultural center, or any suitable space. Dozens of loudspeaker

are scattered throughout several rooms, allowing visitors a sonic promenade through a selection of

banal or striking, sometimes beautiful excerpts, always representative of the acoustic reality of the

surroundings. Visual elements, such as photos, texts, lighting, artifacts or more elaborate set

designs, provide a guide on the path. Some sound recordings, because they are too long to be

presented to all visitors, or their fragile nature requires complete isolation from other sounds, can be

made available on headphones.

The idea is to bring out, to emphasize, to reveal to every visitor (hoping there is a large

proportion of locals) the musicality contained in their environment. Their curiosity should become

aroused and their sensitivity accrued to the acoustic world around them. This should develop an

active listening attitude, allowing them to compose their own music by selecting distinct sounds,

noticing chance relationship that may occur, unison, echo, rhythm, texture, etc. and derive some

pleasure from it. If such attitude became widespread, one could imagine the world as a happier

place, and people with a more open mind, also towards contemporary music.
 The "Musique des vignes" showing was the third or fourth of these "géophonies", and

benefited of a larger scale due to its presentation at the Centre Culturel de l'Albigeois, which co-

produced the event. The chosen canton was this time Gaillac, which main characteristic is to be a

wine producing area. With a long history, it produces a fine wine, with a very distinctive quality.

The GMEA invited me to compose a piece that was to conclude the journey though the

exposition. By agreement, all sound recordings made by the GMEA musicians would be made

available to me, and vice versa. During the composition, I noticed that several varieties of grapes –

cépages – indigenous to the Gaillac region are not to be found elsewhere. I chose to base a

movement on each of them, and proceeded to capture as much qualities as possible for the wines

produced with each cépage : impressions of taste, smell (bouquet), look (robe), feel, as well as

descriptions of the grapes. This provided me with a filter, a grid, through which I sorted and

organized the field recordings that comprised grape harvesting, fermentation sounds, pouring,

bottling, as well as various sounds from the environment, such as birds, distant church bells, etc. I

also drew upon my sound library, carefully listening to previously made sound ranging from

improvised sequences with water dropping on a cup, to synthesizer eerie drones.

It became very clear, after composing a rough version of two or three movements, that they

were going to be mostly static, as the description of an instant stretched over a longer time. This

seemed to me problematic since it lent to a succession of rather non-directional movements, and

such contemplative mode needed to be renewed, refreshed. It then occurred to me that bottling

sounds – that did not find their place yet – were very interesting and their dynamic, rhythmic

qualities would provide the contrast I needed. I thus inserted an interlude between each movement,

giving me a satisfying form with five movements and four interludes.

The composition process went on by combining and processing a choice of materials, adding

also new ones whenever needed (created in studio using synthesizer, sampler and specific
recordings). The last stages were editing (using one of the first commercially available hard disk

based unit, synchronized with a 12-track digital recorder) and mixing (manually, but with four

hands and a lot of rehearsing and many takes). I benefited from the assistance of Marc Pichelin in

all stages, while some sound recordings were made by Thierry Besche, Roland Ossart and Vincent

Geais. The latter also introduced me to Gaillac wines, in several tasting sessions in cellars or at

Gaillac's Laboratoire d'œnologie.

Only during the last stages of mixing came the idea of a giving the piece simultaneously with

a wine-tasting concert, as the result of a discussion with Thierry Besche, who immediately acted to

make it happen. Vincent Geais chose the five particular wines, each made of 100% of a typical

cépage, as I was working on the spatialization. The piece had been mixed onto six tracks, so as to

allow a listening experience as full as possible, "inside" the sound. I used the GMEA's Matrica, a

device they had commissioned to Ruben Fernandez (designer of the famous RSF analog

synthesizers). It comprised an expendable matrix of 64 voltage controlled amplifiers (in hardware),

permitting control of all possible paths from 8 sources distributed over 8 speakers. This was

controlled by MIDI, using a software written for Macintosh, allowing to draw the envelopes of all

sound paths. This was yet a prototype, and needed to have a higher level control, since it required to

manually draw all 48 envelopes.

Fortunately, I was able to work on location, with the actual sound system and room, so I could

test the result and correct it at will. Three days of intense work were just enough to write the

automation of the 20 minutes piece. This was worthwhile, since the wine-tasting concert was given

over 30 times in the five weeks the "Musique des vignes" showing went on.

Although a familiar experience – at least to the French – wine tasting is generally a rather

imprecise one, since most people do not possess much specific vocabulary. This does not mean

perception itself is not refined, but that such limited vocabulary certainly hampers on memorization
and recognition (one could arguably consider this to chiefly concern specialists).Thus we are faced

with a familiar yet possibly refined, but rather un-intellectualized experience of concentration on

one's feeling : here, look, smell, taste and feel are all called upon. Why couldn't we do the same

with sound? In a way, this is already the situation of electroacoustic music : a music which is

carried through chiefly by sensation. I do not mean here to be reductive. Most achieved works

present all three levels : sonic, musical, and significance. But I want to stress the fact that this type

of music can bring a sensuous pleasure, often the first perception one feels, especially when it is

well spatialized over multiple loudspeakers.

Thus the wine-tasting experience shares with electroacoustic music an approach based on pure

sensation, and seems to be an ideal introduction to the listening experience. Indeed, it has been

evident that the majority of the public was able to enter easily into an attentive listening of this

music. They found support and possible comparisons which made the experience easy and

agreeable. Suppleness, strength, grain, force, subtlety, flowery, red fruits, attack, sustain…here are

some terms used to describe sensations that could be used towards both the wine-tasting and the

music.

About a thousand persons from the Albi region (south-west of France) had the experience. For

the most part, they would not even have set foot in a contemporary music concert, (or maybe even a

classical one). They seemed to enjoy themselves, be at ease, and would often stay 15 or 30 minutes

after the music was over, to prolong the experience, discuss among themselves and ask a few

questions. Clearly, the usual bias about the difficulty of understanding this music, its

"intellectualism", were absent. Once the anguish to try and understand brushed aside, and a

propitious climate to pure perception was installed, this music came across easily. Without doubt,

the installation, the way to organize the performance without reference to the traditional concert, all

concurred to evacuate the uneasiness sometime generated by the absence of live performer (in this
case, this was possibly an aid, in that it allowed to establish a different ambiance from the

"bourgeois" concert that could have put off this audience).

Beyond the mere anecdote, I think this is very significant. Indeed, how long has it been and

how often is it that we hear composers - other actors of contemporary music - complain about

audiences that try too hard to understand rather than to be open to perception? And yet, who wrote

all these obscure, mystifying texts as program notes glanced through with anxiety concert-goers?

This is an unacceptable paradox, which we must overcome if we are to avoid complete rupture

between contemporary art music and its audience.

I am not of course offering wine-tasting as the response to all problems. Merely, it has been

helpful in shedding light and identify precisely the inner workings of an important issue. It suggests

one kind of solution, which is to associate other media in the perception, in a way that breaks away

with the traditional concert ritual. This is applicable mostly, or at least more easily, to

electroacoustic music.

Maybe the most important is that the keys to a work be given by the work itself. For example,

one can state from the beginning elements and relationships which are going to be the subject upon

which the listening experience will be focusing. The piece must therefore be, in this perspective, its

own guide, and lead the listener in a clear manner. Is it in contradiction with the depth or maybe

mystery a true work of art must possess, allowing enjoyment and discovery after repeated listenings

? This fundamental question must be borne in mind, but I think it can be overcome.

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A part of uncertainty is desirable in the approach of a new work. But it should not be complete

uncertainty. This may much vary according to individual tastes, with one person preferring a walk
at random in a wild forest, while another will need to follow clearly marked paths in order to

concentrate on her feelings.

"… some of the difficulties which audiences have with modern music do not result from the

fact that the redundancy rate of this music is at times so low as to be unable to counteract the

cultural noise which is always present in a communication situation… Uncertainty is important in

the arousal of meaning and information. One must, however, distinguish between desirable and

undesirable uncertainty. Desirable uncertainty is that which arises within and as a result of the

structured probabilities of a style system in which a finite number of antecedents and consequents

become mutually relevant through the habits, beliefs, and attitudes of a group of listener.

Undesirable uncertainty arises when the probabilities are not known, either because the listener's

habit responses are not relevant to the style (cultural noise), or because external interference

(acoustical noise) obscures the structure of the situation being considered.

[Footnote : Meyer, Leonard B. Music, the arts, and ideas. Chicago: University of Chicago Press,

1967, p. 17]

Therefore no situation is ideal for all. But program notes may provide, for those who want to

read them, indications to what may be significant what will not be relevant in the listening

experience to come. It seems to me organizers would be better advised to write up their own

program notes, or have them written by competent people if they do not find themselves equipped

for it. These notes should allow an understanding of the music and the composer's intentions, but

should not be strictly focused on that aspect, and rather give some useful informations, key

indications to facilitate access, without too much bias. Indeed, each work can be approached by as

many ways as there are listeners.

Moreover, any other way, for example through the association with other senses, such as

images or taste, that allow an easier approach, without the need to provide explanations, seems to
me highly desirable. Above all, I think of paramount importance, given the present-day context

where there is no common language, that a work should contain its own guidelines, exposed in a

musical yet clear fashion at the beginning of the piece.

In vino musica was an important step in my personal development, in term of composition

and also in a greater awareness of the issue of the audience's perception. The time is gone when

artists could remain in their ivory towers. Part of the creativity has to be spent on how to reach

people, without compromises over the content.

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 Bibliography

Aconito, Tom. in Catalogue du Festival Aujourd'hui Musiques. Perpignan: 1996.

Baudelaire, Charles. L'oeuvre et la vie d'Eugène Delacroix, Oeuvres complètes. Paris: La Pléiade

vol. II, p. 754.

Boulez, Pierre. "Le Domaine Musical". Paris: Bulletin international de musique contemporaine, n

°1, 1954 pp. 1-11.

Chion, Michel. "Musique à Programme". Larousse de la Musique, 1982, pp. 1268-9.

Meyer, Leonard B. Music, the arts, and ideas. Chicago: University of Chicago Press, 1967.

Mâche, François-Bernard. Musique, Mythe, Nature ou les dauphins d'Arion. Paris: Méridiens

Klinckseck, 1991.

Mion, Philippe, Jean-Jacques Nattiez and Jean-Christophe Tomas. L'envers d'une oeuvre. Paris:

Buchet-Chastel, 1990.

Nattiez, J-J. Music and Discourse: Toward a Semiology of Music. Trans. Carolyn Abbate. Princeton:

Princeton University Press, 1979.

Schaeffer, Pierre. Traité des objets musicaux. Paris: Seuil, 1966.

Schaffer, Murray. The Tuning of the world. New York: A. Knopf, inc., 1977.

Vérin, Nicolas. "Quelles notes de programme pour la musique d'aujourd'hui ?" Paris: Média et

Information, L'Harmattan, 1998.

Vérin, Nicolas. "Droit de réponse". Le Bien Public, Dijon, 20 December 1997.

Vérin, Nicolas. In Vino Musica. CD GMEA MP9201, distributed by Métamkine, 50 passage des

Ateliers, 38140 Rives, re-issued by cdbaby/Old King Cole Productions (974470040135)

Xenakis, Iannis. "Vers une Métamusique." La Nef n°29, Paris, 1967.

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 Appendix 1 : press about In vino musica

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"The music of Mauzac, light, earthly without excess, with a slight taste of stony river... the

Lenc de l'elh proposes a point of harshness softened up by distant little bells. A somewhat exotic

sound, low and dry, and an electronic bird complete the tableau. It is as one of these memories that

evades one as you capture it, auditive and gustative notations, too brief and yet that leave an

indefinable impression... The Syrah is a music/wine that is anchored, strong, which attacks with an

acidity that disappears right away. Far away sounds or words, whispered, liquid, deep, it is rough

and real like jute linen. The Duras is a wine whose sound has travelled much, garnered many a

scent of herbs, of licorice roots heated by the sun, of dews and autumn haze. It is a tale narrated as

if by the fireside. Finally, the Braucol is an elaborated music, reflective, with electronic bamboo

breathings, it's a wine of today, with vocal sounds, in which each instant makes one bite in handfuls

of bitter and fragrant berries, makes one travel."  

Michel Thion. Révolution n°673, 21 January 1993.

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Appendix 2 : program notes for In vino musica

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Five movements and four interludes :

Mauzac ; Interlude 1 : machines 1 ; Syrah ; Interlude 2 : bouteilles ; Lenc de l'elh ;

Interlude 3 : machines 2 ; Duras ; Interlude 4 : aquatuor ; Braucol

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Each of these five pieces was inspired by a typical cépage (grape species) from the Gaillac

region. I these work, I tried to establish, in a purely personal and subjective way, correspondences

between several senses — sight, taste, smell and hearing. Four interludes bring some air into the

piece with clearly differentiated short and rhythmic material. Some of the source materials come

from the wine-making activities : sounds of fermentation, pouring or flowing liquids, bottling,

etc.

The Mauzac opens the piece, with suppleness, finesse, smoothness, with 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, strongly

built but with melancholy, distant and as hallucinated. The second interlude plays with Bouteilles

(bottles), rubbed, hit one against another,and hybridized with instrumental 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,

shiny. It gives out 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 both

fragility and tenacity. Then the Machines 2 come out, working from small explosions of

fermentation to rhythms that little by little let one hear their mechanical origin. Then comes the
Duras, a very old cépage, of a bluish black, producing a delightful wine, elegant, colored,

amusing. It is the occasion for a dance, in an ascending spiral shape, light and enlivened. 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, ("wild bull" in Occitan), with black

bays, garnet, very marked. 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.

In vino musica is available on the CD "Musique des vignes" (GMEA MP9201, distr.

Métamkine), along with other pieces by Thierry Besche, Marc Pichelin and jazz saxophonist

Jean-Marc Padovani.

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 Appendix 3 : list of performances of In Vino Musica (as of January 2003)

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-November through December 1992: Albi, approx. 30 performances at the Centre Culturel

de l'Albigeois, with wine-tasting and space designed by Jean-François Prigent, lighting by

Thierry d'Oliveira.

-May 1995, Paris Galerie de l'Ecluse, (2 performances)

-September 1993, Berkeley, California, CNMAT, opening of the season

-December 1993, Annecy, Festival "Concerts d'Hiver et d'Aujourd'hui", full version with

wine-tasting, spatialization and designed space

-December 1993, Paris, Festival Electro-CD, Grand Auditorium de la Maison de Radio-

France; concert version, spatialization by Jean Schwartz

-January 1995, Grand Auditorium de la Maison de Radio-France ; concert version

-October 1996, Moscow, Autumn Festival; concert version

-June 1997,

Brussels, Rencontres "European Electro-acoustic Music"

-June 1997, Sens, Workshop of artist Yvan Messac

-December 1997, Dijon, Why Note Festival, in concert (spatialization over 16 loudspeakers)

-June 2001, Evry, concert of Nicolas Vérin's class of electroacoustic music, with

performance by three different students

-March 2002, Dijon, Scientific colloquium on Taste, 2 performances in a cellar, with wine-

tasting and design by Véronique Verstraette

- October 2002, Mâcon, Centre Culturel, Festival Paragraphe, 2 performances with wine-

tasting and design by Véronique Verstraette

2001), Radio Parabole in Dijon (1998), FR3 Toulouse (regional television– excerpts in 1992)