Philippe Hurel - Loops (2006)

RITORNELLO "IMLB": If Ritornello is a tribute to Luciano Berio, the music, however, borrows nothing from this late, great composer’s vocabulary. The only link that might be established is the use of an extremely short cell (three descending sounds) and its proliferation throughout the work. The title – a ritornello, but especially a refrain – indicates the manner in which the piece is organised: the little 3-sound cell (rhythmically out of phase with the piano) alternates with other, freer and slower episodes. The difference between this and the classical rondo appears here in the fact that the return to the refrain is never abrupt, but rather occurs through a progressive transformation (morphing) of the part that precedes it. Whereas the ‘refrain’ is always rhythmical and canonical, the intermediate parts are more meditative, and the great central section is in total opposition to the idea of the transformation process that forms the basis of my music in general. This section gives the illusion of a disappearance of time, the loss of a temporal reference. It’s a poetic space in which time stands still. Music of the moment, or for eternity, depending on your viewpoint, or your listening-point, rather.

LOOPS II: In this Loops, I have added an extra level to the principle of looping. The piece is so constructed that the process of cell transformation always brings you back to the motif announced at the outset. Although the music may seem to be undergoing perpetual transformation because of the morphing process, the listener will nevertheless feel it is going round in circles, since each long procedure brings you back to the starting point, like the little local loops that you can hear throughout the piece.

TOMBEAU "IMGG": When Gérard died, I was working on a piece for piano and vibraphone of a playful nature. The immense grief that suddenly overwhelmed me led me to abandon the project, of which nothing but the instrument names remained. How better could I pay homage to Gérard, other than writing my very own music, with no reference to his, no signs of his influence? Nevertheless, it was the very violence of the Vortex temporum solo that started my piece off. It was imperative not to study the score, and yet to retain its force and use it as a possible metaphor. I had never had to confront this type of work before. The piece took on the appearance of a ritual, and the vibraphone player found himself with extra instruments such as cow bells, Thai gongs, crotals and woodblocks - all to ‘disturb’ the piano without actually putting it out of tune, as Grisey had done. For the first time ever, my music will not be objective. I had great difficulty in evaluating the material, and my momentary yielding to complete intuition might not have pleased the dedicatee. The piece is, however, imbued with Grisey’s spirit, and could not have seen the light of day without him.
(Philippe Hurel)