3 voices, electric organ, 4 marimbas, vibraphone and 2 glockenspiels

The piece is constructed from distinct motifs of marimbas and glockenspiels, endlessly repeated out of phase (more or less important metric shift that can be found in Six Pianos, composed the same year). Thus the original motif is incomplete; it is gradually revealed through its duplication, each repetition adding supplementary elements until the motif is completely exposed, played out of phase from one voice to the next (in other words “played against itself”). These phase displacements and the presence of typical marimba and glockenspiel motifs give to the work an impression of ceaseless activity as well as a wealth of tones and colors enhanced by the female voices. These female voices, as in Drumming (1970-1971), imitate exactly the sound of an instrument playing brief repetitive motifs, in accordance with a constant blend of voices and instruments. Used also to double the electric organ and included in longer durations, they bestow on the piece another kind of tone, at once vocal and instrumental. The integration of all these lively elements makes the listening experience unique, resolutely turned toward the present, with all that entails as repetitive yet endlessly renewed.

[iii-13]

Performances

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