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Stephen Adams

spaces – how music and sounds of diverse nature interact with cultural memory and performative contexts. Insatiable ( 1985 ) marked the beginning of a prolific decade of opera composition, when he produced four operas, three of them in collaboration with Chamber Made Opera’s artistic director and librettist Douglas Horton. Each of these operas takes either a specific work or the conventions of opera as its starting point, and places them in new narrative, musical, and theatrical contexts. Meanwhile he continued to compose acoustic and electro-acoustic instrumental music


Jean-Rémy Berthoud

in all kinds of music as well as respect for the performers. He later turned mainly to composition while working as a producer at Radio Suisse Romande. In his compositions, he introduced electro-acoustic elements into the traditional symphony orchestra and used poetry, as well as concepts derived from quantum physics and geometry. In 1964 he married Arlette Chédel, a Swiss contralto who gave the premières of several of his works. His ballet Manu-Tara ( 1967 , based on a story by Arlette Chédel-Derbès) won first prize at the 1968 Geneva Concours for opera and


Bruno Giner

of external sources (projections, reciter, instrumentalist-cum-actor, singer) all give rise to a multi-directional theatricality of sound. The human or animal presence, a basic element of sound, orientates his work towards a certain kind of realism with a ‘character motif’ superimposed on it. Other features of his compositions include vocal elements or brief gestures conveyed in sound (steps, breathing, objects), stylized organic material, and the use of sudden breaks. Works ( all for tape unless otherwise stated ) D’une multitude en fête, 1969 Petite suite


G.W. Hopkins

revised by Paul Griffiths

Interviews M.D. Hastings : ‘M. Boulez’ Press-Conference’, MO , vol.89 (1965), 21–7 J. Buzga : ‘Interview mit Pierre Boulez in Prag’, Melos , vol.34 (1967), 162–4 ‘Sprengt die Opernhäuser in die Luft!’, Der Spiegel (25 Sept 1967); Eng. trans. in Opera , vol.19 (1968), 440–50 G. Harewood : ‘Whither Opera?’, Opera , vol.20 (1969), 922–31, 1026–31 M. Cotta and S. de Nussac : ‘L’express va plus loin avec Pierre Boulez’, L’express , no.979 (1970), 144 H. Pousseur : ‘Pierre Boulez’, VH 101 , no.4 (1970–71), 6–11 M. Kendergi : ‘Pierre Boulez interrogé’, Cahiers


Kyle Gann

stormy night ( 1990 ), in which a series of nested narratives spoken by the soloist is paralleled by a self-referential musical process that gradually reveals the origin of the material – a looped musical sample. His magnum opus, Truth in Clouds , is an opera about a seance, during which voices are heard from all parts of the auditorium with the aid of a Ouija board-to-MIDI converter. Works ( selective list ) Pea Soup, 1–12 pfmrs, elecs, 1975 Little Spiders, 2 cptr insts, 1981 Second State, elecs, 1981 Is