Adrien Trybucki

Portfolio

Unobtainium

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General information

Nomenclature
  • ensemble of 7 musicians
    1.0.1.0 – 0.0.0.0 – perc, pno – 1.0.1.1.0
Duration
  • approx. 16 minutes
Year
  • 2022
Commission
  • Aide à l’écriture d’une œuvre musicale originale du ministère de la Culture – direction régionale des Affaires culturelles d'Île-de-France
Dedication
  • Philippe Hurel
Score
  • unpublished

Program note

Unobtainium describes any hypothetical material possessing properties impossible for any real material. Through mathematical speculation, the work attempts to reproduce impossible constructions in the sound domain by the incessant metamorphosis of the initial musical entities. Altered by time, the sound texture gradually erodes until it becomes autonomous from its original form, generating along the way various games of illusion. The paradoxical relationship between immobility and movement is thus highlighted, somewhat countering Akiyoshi Kitaoka’s spinning snakes, which create the illusion of circles seeming to coil upon themselves in an absolutely fixed image.

Review

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Le principe d’une détonation suivie d’une cellule perpétuelle, pour ne point dire obsessive, s’y vérifie à plusieurs reprises, opérant diverses mutations en son sein, selon une évolution interne qui peut aller jusqu’à relancer le processus en plein vol. Après quatre phases, une transition semble vouloir installer autre chose. Il n’en est rien, jusqu’en la relative fragmentation du piano la ritournelle revient, avec ses surplaces, ses routines, ses crispations, ses mélancolies et peut-être même ses illusions. Au fil de ponctuations de plus en plus tranchantes du piano et de la percussion, une palilalie absorbe l’écoute dans une velléité d’insistance sans qu’en émerge jamais quelque babil.
The principle of a detonation followed by a perpetual—or obsessive—cell is confirmed several times, effecting various mutations within it according to an internal trajectory that can restart the process mid-flight. After four phases, a transition seems poised to bring something else. It does not. Even through the relative fragmentation of the piano, the refrain returns—with its stagnations, routines, tensions, melancholies and perhaps even illusions. With ever more incisive punctuations from piano and percussion, a palilalia absorbs the listening into a determined insistence without any babble ever emerging.

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Public performance

22nd Nov 2022

Paris ★ world premiere

20:00 CRR de Paris Auditorium Marcel Landowski
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