{"id":1939,"date":"2020-03-01T14:17:55","date_gmt":"2020-03-01T14:17:55","guid":{"rendered":"https:\/\/luisnaon.com\/?p=1939"},"modified":"2023-07-10T15:05:52","modified_gmt":"2023-07-10T15:05:52","slug":"ka-cinq-poemes-musicaux-1993-94-urbana-7-a","status":"publish","type":"post","link":"https:\/\/luisnaon.com\/en\/ka-cinq-poemes-musicaux-1993-94-urbana-7-a\/","title":{"rendered":"Ka, Cinq po\u00e8mes musicaux (1993-94) (Urbana 7.a)"},"content":{"rendered":"

KA, \u201cfive musical poems\u201d (1993-94)<\/b>\u00a0
\n<\/span>For clarinet, horn, violin, cello, percussion, and two synthesisers.<\/b><\/p>\n

Commissioned by the French Government.
\nPremiere in February, 1995 by Ensemble TM+,
\ndirected by Laurent Cuniot.<\/p>\n

Duration: 22 minutes.<\/span><\/i><\/p>\n

There is no recording of this version.<\/span><\/p>\n

\n

There are three versions of KA:<\/b><\/p>\n

KA (93-94) (7.A)
\n<\/b>Ka II (2007) (7.B) <\/b>for flute, clarinet, two saxophones, percussion, and electronic.<\/em>
\n<\/b>Ka III (2015) (7.C) <\/b>for flute, clarinet, violin, cello, and electronic.<\/em><\/p>\n

During the period of creation of this piece I had in mind the idea of a relationship which always seems present, the relationship between music and other forms of art. The secret hope was that these pieces could inspire five poems (true poems, with words), five frames, one film. I know that this hope is born out of solitude and isolation.<\/span><\/p>\n


\nAt that time I witnessed a sad episode among composers of our parents and mentors\u2019 generation, during which the generational reaction and the front to defend a position were the core values. I then wrote a text of intention, let us say a poetic text but which is personal because it is mainly directed to myself. A play of words \u201c<\/span>l\u2019ardente \u2013 te ladren<\/span><\/i>.\u201d It sounded as a text that would become, without my noticing, the composition\u2019s core: the author and his double\u2019s concern. The image of a borrowed mythology (the Egyptian) provided me with a title and the necessary distance to write.<\/span><\/p>\n

This was the poem:<\/p>\n

<\/span>L\u2019ardente \u2013 Te ladren [1]
\n<\/span><\/i>Que l\u2019ardente demoiselle,
\n<\/span><\/i>muse vienne \u00e0 mon encontre
\n<\/span><\/i>si nuptiale et enchanteresse
\n<\/span><\/i>violente et coriace putain
\n<\/span><\/i>la cr\u00e9ation ne na\u00eet que
\n<\/span><\/i>des cendres et lambeaux
\n<\/span><\/i>d\u2019un espoir \u00e9ph\u00e9m\u00e8re
\n<\/span><\/i>pour tisser nos r\u00eaves
\n<\/span><\/i>et pour que les soirs de pleine lune
\n<\/span><\/i>les chiens, les chiennes
\n<\/span><\/i>Ardent.<\/span><\/i><\/p>\n

If we are to believe the Alchemy, Kabballah, and Symbology, Ka<\/span> is a kind of double that each person had in Ancient Egypt. It can also refer to the divine creative powers, or the conservation forces which maintain the universal order. If we go deeper into the funerary Egyptian religion, we find that its great richness and bends come from the complexity of their perception of the human personality; it is at this point that the \u201cborrowed mythology\u201d finds its particular resonance with our present time.<\/span><\/p>\n

By providing a general overview of the piece without going into the details that put it together, I made a list of the motivations or concerns instead of analysing or breaking up the five poems that make it up.<\/span><\/p>\n

I wrote the following:<\/span><\/p>\n

Why poems?<\/b><\/p>\n

Lyrical poetry in music. The correspondence. The unexpected paths, the intricacies of art, the love.<\/span><\/p>\n

I am obsessive with relationships: I love and I hate. I am inside the universe, attracted and repelled but always leaning towards another.<\/span><\/p>\n

I like knitting (from Latin\u2019s <\/span>textus<\/span><\/i>: tissue) in real life as well as in creation. To shape and to see, sometimes in spite of me, this conservation force that governs the universal order take shape. To see through the individual I the divine creative power which manifests itself, without conscious control.<\/span><\/p>\n

I catch a glimpse, beyond the mechanisms, God\u2019s manifestation in literature, painting, or raw music.<\/span><\/p>\n

Yes, musical poems.<\/span><\/p>\n

There is no narration. Only emotion through the metaphors of sound.<\/span><\/p>\n

The repetitions (as in literary poems) have rhythmic function, and the rhyme a charming function.<\/span><\/p>\n

 <\/p>\n

Why five?<\/b><\/p>\n

Five has its history; it is the main regulator. It organises and synthesises by nature. The balance being between the binary and the ternary, it embodies that union which each one of us hopes to acquire. For the Maya people, it represented the God of Corn, which was important. In ancient Japan, the elements were five: earth, water, fire, air, and space.<\/span><\/p>\n

I have seven instruments to say five poems (these numbers will have a very important role in the rhythmic and metric organisation, which can be seen from the polyrhythmic game between 5 and 7 pulse subdivisions.)<\/span><\/p>\n

Five poems which are as many directions \u2013 driving forces for the composition, I would say \u2013 that I hope can someday take shapes other than those of abstract music.<\/span><\/p>\n

These subtitles could be:<\/span><\/p>\n