Performance / Concert / György Ligeti, Poème Symphonique (pour 100 métronomes)

À l’occasion du premier anniversaire de la Cité des arts, le Frac et l’association des amis du Frac (AFFC) proposent, avec le concours du Conservatoire à Rayonnement Régional du Grand Besançon Métropole, la réalisation d’une pièce de György Ligeti : le Poème Symphonique pour cent métronomes mécaniques qu’il composa en 1962, époque où il s’associait au mouvement Fluxus et se liait avec Nam June Paik.
« En composant [cette pièce]… je songeais à de nombreuses grilles superposées, des figures moirées, qui donneraient ensuite naissance à des structures rythmiques mouvantes. […] J’ai donc imaginé de créer une grille rythmique si dense d’abord qu’elle en paraîtrait presque continue ; ce qui implique brouillage et désordre. Pour ce faire, il me fallait un nombre suffisamment important de métronomes, le chiffre cent ne représentant qu’une estimation » Source : Livret du cd Mechanical Music « Gÿorgi Ligeti Edition » n°5 ; Sony in La musique du XXe siècle. - Hachette, Littératures, 2005.
///
Date : Samedi 12 avril 2014.
Compositeur : György Ligeti.
Production : Frac Franche-Comté, association des amis du Frac (AFFC), avec le concours du Conservatoire à Rayonnement Régional du Grand Besançon Métropole.
Vidéo et montage : Christophe Monterlos.
///
Interprètes : Marie Verry, Fanny-Jade Besançon, Anastasia Dukhareva, Pascale Fleury, Anne-Catherine Garnier, Emmanuelle Goncalves, Geneviève Hartmann, Sylvia Kohle, Laurence Mathieu, Faustine Vallienne.
Chef d’orchestre : Laurent Comte.
Remerciements aux prêteurs de métronomes : Pierre Bier, Elsa Simonot, Geneviève Hartmann - Besançon ; Jean-Luc Plouvier et l’ Ensemble Ictus/Rosas - Bruxelles.

[@Martykun36]

Thanks Tom Scott this actually slaps

[@briangarcia2358]

I actually paused my Lateral Podcast to KZbin what the heck they were talking about… 😂

[@chilanya]

I love how the applause mimics the metronomes

[@ZandoFox]

Does one of them have a slightly louder/different sounding tick from the other 99? Or is it just closest to the microphone or something? It seems to be at a higher pitch.

[@blueeyedbehr]

yes, i hear it too. it does tend to stick out more than the others.

[@NHGMitchell]

This doesn't belong on KZbin, but instead should be on TikTok.

[@blueeyedbehr]

best comment ever.

[@ChristopherDale-h8u]

Now I know. The rain on my window.

[@GHRTVids]

it was 2nd row from the right, 4th of the back (I4)

[@briangarcia2358]

Did at any split second, they Tick at the exact same time? I think I heard it twice but not sure… I’ll have to listen again (jk)

[@GHRTVids]

play at 0.25 and listen to alien voices

[@tomulg5837]

Rien compris mais gg

[@lilvulgate]

Not my favorite interpretation

[@torusx8564]

idk why they call this art... people think that the randomness make something special but .. no mean. someone explain please

[@kathryntewson5392]

It’s not random. It’s a demonstration of periodicity and the patterns that emerge from it. Or, to put it another way, I heard you like polyrhythms so I put polyrhythms in your polyrhythms.

[@torusx8564]

I don't hear the pattern@@kathryntewson5392

[@DevSolar]

A cloud chamber visualizing radioactive decay would be completely random, and without artistic meaning. Yet experiencing it is something interesting, isn't it? Sometimes things don't need a deeper meaning. How do 100 metronomes sound, set to different speeds? This is it. No more, no less.

[@672megan]

It's both very personal and universal. If paint on canvas in shapes I don't recognise can convey meaning or prompt discussion or introspection, why not this? Did it make you think or feel? Was it soothing or cause anxiety. Do you wonder [like me] how much is random or if they planned those two late tickers in the front row [did you also think they were dueling]; and the surprise last ticker that I had to search for. Is this a metaphor for modern society? A comment on Time, Music Theory or the expectations of Performance Art? Yes - in another mood this might grate, but today it turned up like a gold nugget.