plein jeu hurel



piece composed by philippe hurel, performed by pascal contet. electronic music produced by alexis baskind. production cirm. first performance on november 19, 2010 in manca new music festival (nice).

a recording of this piece is a part of the cd “traits”.

plein-jeu (a term for the full registration of the pipe organ) belongs to a cycle of three pieces titled jeux (games) and comprising hors-jeu (“offside”), jeu and plein-jeu. hors-jeu for percussion and electronics was created in 2005 at ircam in paris, while “jeu” has not been written yet.

in hors-jeu the performer’s gestures had little impact on the electronics, as implied by the title. in plein-jeu, on the contrary, every element of the electronics is the consequence and extension of an instrumental gesture even if delayed. interestingly, in 2009 i wrote a piece for organ and two trombones that left a trace in this work. plein-jeu‘s electronics take on the role of the organ, with the aim of generating a kind of meta-accordion sound which is, nonetheless at times closer to the sound of the former.

from a formal perspective plein-jeu is in two main sections, in turn structured as a series of variations interspersed by parentheses where the music becomes noisier and more agressive. every parenthesis represents a release from the sonic tension accumulated in the piece so far, almost a kind of sonic climax mixing pleasure and pain. throughout the work gestures and sounds return obsessively and often in a diorderly manner, and end up contaminating each other to generate increasingly similar textures. the coda is made up of long threads , the final result the deterioration of the tension building gestures and multiple musical situations occuring from the start of the piece.

philippe hurel