This is "International Contemporary Ensemble | Pierre Boulez: Dialogue de l'ombre double (Excerpt. As Jorrit Tamminga amusingly recounts in his booklet-note, it was a chance encounter with Boulez that led to his musical partner Erik Bosgraaf making this. Find composition details, parts / movement information and albums that contain performances of Dialogue de l'ombre double (2 on AllMusic.


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However, since all halls are not well suited to placing the performer in the center, it may be necessary to place the performer on a traditional stage instead.

Dialogue de l'ombre double, Pierre Boulez

In order to heighten the contrast between the live strophes and the recorded transitions, special lighting may be used to illuminate the performer only during the strophes - the live portions - he plays live on stage.

If the acoustics of the hall are excessively dry, the clarinet's sound is reverberated slightly. During Strophe II, Strophe III and Strophe V in the version in Roman numerals and Strophe 1, Strophe 3 and Strophe 4 in the version in Arabic numerals, the live clarinet's sound is transformed with the aid of a piano, whose right pedal is pressed down permanently so that the strings can vibrate freely.

This transformation works in the following way: Notice in the first two setup figures that the piano should not be visible to the audience. The Transitions The clarinet should be recorded on track one of the tape. The transitions are played back dialogue de lombre double six equidistant speakers referred to as speakers 1 to 6 surrounding the audience and one speaker placed outside the circle referred to as speaker 7.

This last speaker, used only at the end of the last tape section of the piece, should sound distant and may therefore be placed outside the hall.

BOULEZ Dialogue de L'Ombre Double

Following the cues marked in the score, the pre-recorded clarinet sounds are to be sent around the hall from one speaker to another giving the listener the impression that the sounds are moving in physical space.

Hereafter, this will be referred to as "spatialisation". In Dialogue de l'ombre double two kinds of spatialisation are used: Depending on the means available, the spatialisation may be performed in one dialogue de lombre double two ways: Equipment Setup The figure below shows the complete electronic setup necessary dialogue de lombre double a performance of Dialogue de l'ombre double.


The equipment surrounded with a dotted line the VCA control unit, the control computer and the SMPTE decoder is necessary only if the spatialisation is to be done automatically. The figure is taken from the technical documentation edited in The tape recorder function can be replaced by any computer multitrack recording and playback dialogue de lombre double ; the VCA unit by any level automation system coupled to a time code device.

Cue Notation Changes in spatialisation are indicated in the score using cue numbers. Accompanying each cue number is a graphical indication showing the level for each speaker. As mentioned previously, the spatialisation can be done automatically the preferred method or manually.

Indications for both types of spatialisation cues are shown in the score fragment below. Squares enclosed automatic cues. Circles enclose manual cues. When only circled cues appear, they apply to both automatic and manual spatialisation.

The six Strophes dialogue de lombre double played by the live clarinet and the other pre-recorded movements are heard over the loudspeaker system. The live parts alternate with the pre-recorded parts. Here is a liste of the sections as they occur in the piece: First of all, in keeping with the spirit of the piece, it is used to create a detached, ethereal atmosphere which contrasts sharply with the stark reality of the solo clarinet playing on stage.

This contrast is heightened during the performance by dimming the lighting when the live clarinet does not play. Secondly, the spatialisation serves to analyse the musical material in the score.

The different types of musical dialogue de lombre double present in the score are articulated using various spatialisation techniques: The trills are always heard on all loudspeakers at a moderate dynamic level.

The bursts, on the other hand, are heard on only one loudspeaker at a time which changes with each new burst at a loud dynamic level. The alternation of dynamics and number of speakers used, creates a foreground background effect that articulates the trills and the bursts, while the constantly changing speaker for the bursts accentuates the chaotic character of the bursts themselves.

Spatialized Writing The notion of spatialisation even applies to the actual writing of the score.