Javanese gamelan (eight percussionists) and 7 Western instruments (horn, ondes Martenot, double bass, two harps, two percussions)

This piece derives all of its material from Gilles Tremblay’s transcription of the “Pulo Ganti” from his L’arbre de Borubudur. To be brief, lets say that I stretched it out 13 times and then reinserted it in 13 sections of lengths varying from half its original size to about 9 times longer. Each section is then cut up into 12 different segments that are presented in various orders each time. The singular ‘machine’ slowly accelerates in a logarithmic progression until it reaches its climax in a final jubilant tutti.

The 13 micro “Pulo Ganti” are always preceded and followed by small pulsated transitions which, in turn, are micro versions of the prelude, central transitions, and postlude themselves but in another form, derived from the original melodies of the “Pulo Ganti”.

I tried, as much as I could, to retain the spirit of gamelan music in which one finds an exciting alternation of fast-slow-fast movements in the macro framework, all the way to minute tempo changes within the cellular components as well. Le Matin des Magiciens is the title of a book by Jacques Bergier and Louis Pauwell that I read when I was 16; this book blew my mind and opened my mental and cultural horizons beyond 333, 333, 333, 333, 333, 333, 333, 333, 333 light years.

Since number 3 is my magical number, I thus three times dedicate Le Matin des Magiciens to: Gilles Tremblay, for “Pulo Ganti”; Marie Décary, for everything; Blair Mackay, for commissioning this piece.

Walter Boudreau

  • Score available at CMC, Région du Québec (bureau à Montréal).

Performances

By continuing browsing our site, you agree to the use of cookies, which allow audience analytics.