A Plastic Cyclone Notre Dame

Creator: 
Jean-Michel Bossini
Raoul Hébréard
Performer: 
Jean-Michel Bossini
2746 après Rome
Producer: 
Michel Redolfi
Theoretical background: 

Messe de Notre Dame

By and according to Guillaume de Machaut.

 

Thrusting a work of art into the relativity of time.

This is not an instrumentalist’s interpretation, but rather a composer’s, which is where the term “lecture archéologique” comes from.

To show, by an open and contemporary sensibility, how a work inherited from scholarly polyphonic writings from the beginning of our millennium and nourished by popular and historical elements from the following centuries can still surprisingly flourish at the end of the 20th century.

The transgression committed by Machaut, a composer disrespectful towards tradition, in the words of his contemporaries, can still be respected.

The disrespect of tradition becomes the respect of transgression.

A work of this scope possesses a certain modernity such that it calls for an open mind, intersecting with rock music, geographical and historical world music, even the integration of various disparate elements in writing.

The term “lecture archéologique” brings to mind ancient pottery, locally reconstituted using modern materials.

Above all, this work has provoked in me a great desire to play with it in this way.

The writing profoundly shook me and this vision has exceeded the normal use of this term.

For me, it has such potential that one could go from the 14th to the 20th century through a big black hole, absorbing everything on the way, memory and creation intimately welded, leaving behind the Judeo-Christian notion that it implied and taking up in its stead a liberation  of religious history and of a situation changed at the end of our millennium.

Machaut’s thinking, beyond notes and rhythms, implies a true alchemical and timeless transcendence accepting the transformation of material to be taken elsewhere.

Would we be reticent to take this journey?

 

2746 After Rome

 

Odyssey of a fractal rock or how seven musicians would be grouped under the sign of a Mediterranean culture turned towards historical and geographical internationality, developing the composition in real time by means of intuitive quantum operations, revealing musical forms that are conceptual and primitive, technologically advanced and archaic, all at the same time, reactivating rock thought in intersecting the idea of an imaginary folklore and the practice of artistic, scientific, and human interdisciplinarity.

Occurence: 

enregistrement des actions

Synopsis / Description: 
enregistrement des actions
cassette audio
Documents: 

programme complet de MANCA

Type: 
Imprimé
Technique description référence: 
programme complet de MANCA

dossier de presse MANCA

Type: 
Imprimé
Technique description référence: 
dossier de presse MANCA

texte de présentation carton d'invitation

Type: 
Imprimé
Technique description référence: 
texte de présentation carton d'invitation

partitions de Jean-Michel Bossini

Type: 
Manuscrit
Technique description référence: 
partitions de Jean-Michel Bossini
Description: 

Three musical performances [Messe Notre Dame, Promenade Plastique et Un Cyclone de Papillon, editor’s note] – public installations (the audience contained about 300 people) / Three forms of occupying a museum like the MAMAC:

- A “contemporary rereading” concert of the Messe Notre Dame by Guillaume de Machaut (1300-1377) in the auditorium with video-installations to go along with the rereading of the Ménines of Velasquez by Picasso, then Louis Cane.

- Four concert-installations with the plastic device on the first floor in the galleries as a sort of living and ephemeral exhibition.

- A geometric form (octagon) on the outside lawn above the Yves Klein place, contextual architectural form making the museum vibrate as a source of culture, organized with exterior and random conditions linked to urban traffic noises. [Performance entitled Un Cyclone de Papillon, eight musicians were set up on the interior octagonal lawn of the MAMAC under which is a road. Each musician took over one of the lawn’s eight sides and played. The museum’s architecture made for a wonderful sound chamber.]