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                <text>« Œuvre désarmante, déroutante, qu'on ne sait par quel bout prendre: c'est bien plutôt elle qui nous prend, qui nous subjugue, nous arrache à nous-même. Aussi mystérieuse, aussi obscure que le texte qu'elle illustre, cette musique en a cependant la beauté éblouissante, la force dramatique, la violence poétique ... Toute comparaison avec une musique existante - fût-ce celle d'un Penderecki - devient bientôt impossible, absurde. Cet assemblage savant de sons est un monde en soi, palpitant, cohérent, et si fascinant qu'on ne peut à son propos parler d'imitation, ni d'illustration de texte; monde de symboles suggestifs dans leur géniale transposition. »</text>
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                <text>ANTIPHONIE, 1951 &lt;br /&gt;Toujours dans cette tendance d'un retour au papier à musique, il écrit la partition sérielle d'&lt;em&gt;Antiphonie&lt;/em&gt;, une œuvre qui, elle, est réalisée peu après. Cette partition est faite «d'un schéma rigoureux, où les durées sont notées avec précision (en centimètres sur la partition). Deux séries de blocs sonores s'opposent à la façon de I'antiphonie du Moyen Age - d'une part des groupes formés de cellules - c'est-à-dire de courts motifs sonores - en renouvellement continuel; d'autre part, une série rigide de douze sons complexes de timbre, de durée, hauteur et ampleur dissemblables. Le tout est traité de manière systématiquement différente. [...] La construction d'&lt;em&gt;Antiphonie&lt;/em&gt; est basée Sur des durées rythmiques en équivalence avec la nature du matériau employé. Chaque son traité a son silence complémentaire ». &lt;br /&gt;En clair, cette brève musique fait entendre un contrepoint, très lisible, entre une chaîne sonore de sons hétéroclites qui, collés les uns aux autres, forment une ligne brisée imprévisible et agitée, et, d'autre part, de brefs sons haletants, tombant à intervalles irréguliers, entre des silences également imprévisibles. Même s'il est impossible - comme pour toute œuvre sérielle - de suivre le jeu structurel qui a été la base de la partition, on est emporté par un mouvement spasmodique, sauvage, une espèce de swing irrationnel. Pour sa première utilisation systématique du magnétophone (les sons d'&lt;em&gt;Orphée 51&lt;/em&gt; étaient essentiellement des sons de tourne-disques repiqués sur bande), Pierre Henry a joué à fond de son principal apport : le montage. D'autant plus que la vitesse professionnelle de l'époque (76 cm par seconde), permettait, bien avant les « micro-échantillonnages» pratiqués sur l'ordinateur, de monter les sons en dessous même du seuil où l'oreille est à même de discerner deux phénomènes successifs. Mais ce qui rend Antiphonie très vivant, par opposition à d'autres études sérielles (comme &lt;em&gt;Studie 1&lt;/em&gt; de Stockhausen, faite à la même époque), c'est que son matériau sonore de base est très dynamique, il a une vie de son, il n'est pas un vague bruit impersonnel: et d'autre part. que ce jeu plutôt abstrait avec les durées est pulsé par l'utilisation du &lt;em&gt;silence&lt;/em&gt; qui fait rebondir les sons, les magnétise et les charge, atomes éparpillés, d'une tension vivante. C'est une des premières œuvres où Pierre Henry manie systématiquement les rythmes irrationnels (d'une périodicité subtilement irrégulière), ce qu'il fera avec un art de plus en plus raffiné dans ses grandes «études rythmiques» des années 70.</text>
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                  <text>Cette collection regroupe différents textes de Pierre Henry et des écrits sur Pierre Henry et son œuvre : interviews, analyses, critiques, livres...</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>La mort égyptienne</text>
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                <text>1998</text>
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                <text>Mallet, Franck</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Musique concrète</text>
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                <text>Henry, Pierre, 1927-2017</text>
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                <text>Paris (France)</text>
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            <name>Identifier</name>
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                <text>http://pierre-henry.org/items/show/226</text>
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                <text>&lt;em&gt;Texte du programme de salle pour &lt;/em&gt;Le livre des morts égyptien&lt;em&gt; lors de la rétrospective « Musique concrète des origines à nos jours (1948-1998) : Pierre Henry à Cluny » au festival Paris Quartier d'été aux Thermes du Musée de Cluny.&lt;br /&gt;&lt;/em&gt;</text>
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                <text>&lt;span class="semi-bold"&gt;"La mort égyptienne&lt;/span&gt;&lt;br /&gt;Plus de vingt ans après &lt;em&gt;Le Voyage&lt;/em&gt; (1962) inspirée du &lt;em&gt;Livre des morts tibétain&lt;/em&gt;, Pierre Henry se penche sur un autre &lt;em&gt;Livre des morts&lt;/em&gt;, cette fois ci &lt;em&gt;égyptien&lt;/em&gt;. Pour la première fois, le compositeur utilise les ordinateurs de l'Ircam, son commanditaire. À partir d'éléments sonores « bruts » provenant d'une partition écrite en 1948 et intitulée &lt;em&gt;Variations pour les Cordes du Piano&lt;/em&gt;, et formalisés selon des logiciels élaborés sur la 4x en collaboration avec Denis Lorrain, Pierre Henry exploite plusieurs systèmes de manipulation caractéristiques du studio de l'Ircam, de septembre 1987 à janvier 1988 : échantillonnage « fazer », harmoniseur « harm » et étirement du son grâce à la commande « Vax etir » — l'ensemble de ces procédés nourrissant le thème métaphysique du &lt;em&gt;Livre des morts égyptien&lt;/em&gt; : la mort comme passage du souffle de la vie vers une nouvelle destinée. Dans un « &lt;em&gt;théâtre quotidien de tensions et relâchements, d'éclats et brisures&lt;/em&gt; », le compositeur utilise comme matériel de base le piano, son instrument de prédilection, dont il obtient une variété d'effets : percussion, glissando, trille, trait, trémolo. « &lt;em&gt;Cet ensemble d'élaborations servant de point de départ à des structures logiques, mais plus vastes, plus développées. Il y a là tout un jeu de multiplication, de déphasage, d'élargissement, de glissement, d'élongation, de contraste. Variation d'un son unique s'approchant, s'éloignant. Par une série de juxtapositions en contrepoints polyphoniques (parallélisme de hauteur et d'intensité), j'ai imaginé un macrocosme sans cesse en évolution. Lente coulée par palier possédant une thématique plutôt modale. Réseaux fluides de progressions de couleurs.&lt;/em&gt; » (P. H)"&lt;br /&gt;Franck Mallet, note de programme</text>
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                <text>Fonds Pierre Henry, boite rouge PHBR-00109 </text>
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        <name>Le Livre des morts égyptien</name>
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        <name>Textes</name>
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