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                <text>« Il y a des titres qui ne pardonnent pas. Trouvés sous un prétexte futile, par dissimulation d’auteur, ils ne cesseront plus, la vie durant, de lui jeter sa vérité à la figure. &lt;br /&gt;L’auteur, alors, pour tromper l’ennemi, fuir sa vengeance, se dédouble. L’un s’enferme, se concentre, en rajoute. L’autre s’enfuit, se disperse, donne le change. Le jeu, pourtant, en valait la chandelle, dans le disparate des règles, dans la confusion des valeurs : donne-moi ton piano, je te prêterai mes haut-parleurs. A la douane des conventions pourtant tenaces il y a vingt-cinq ans, s’étaient rencontrés deux complices, pour le troc des savoirs dérisoires, des traditions trahies : Messiaen contre Marconi, Danhauser contre Flechter, la Musique contre l’Acoustique. Le tout échangé à la dérobade, dans un remords mal défini, peu partagé : pour l’un l’effroi, pour l’autre, la revanche. Pour tous deux, l’aveu secret de l’irréparable. &lt;br /&gt;Que d’autres se gobergent : suiveurs en mal de computeurs, faux prédécesseurs, en panne de série. Que ceux-là bidulent les tristes festivals de leur admiration mutuelle. La même solitude, parfois innombrable, hante l’éternel refrain de notre amour-haine, de notre fatale passion de poursuivre diversement, mêmement, l’aventure incertaine que domine l’immense sottise contemporaine. Nous l’aperçûmes ensemble, et pour la première fois, dans l’inquiétant miroir du tourne-disque, où se recomposaient déjà ses déchets, malheureusement indestructibles. Nous pûmes lire notre destin dans la moire du disque vierge, comme d’autres dans le marc de café. » &lt;br /&gt;&lt;em&gt;Pierre Schaeffer à Pierre Henry&lt;/em&gt;</text>
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                <text>Musique concrète</text>
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        <name>Symphonie pour un homme seul</name>
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                <text>[Texte de Jacques Lonchampt sur Voile d'Orphée I]</text>
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                <text>Texte sur le verso de la pochette du LP &lt;a href="/items/show/1673" target="_blank" rel="noopener"&gt;&lt;span class="semi-bold"&gt;Voile d’Orphée I et II / Entité / Spirale&lt;/span&gt;&lt;/a&gt;</text>
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                <text>[Texte de Michel Chion sur Voile d'Orphée I]</text>
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                <text>"Œuvre bouillonnante et inspirée d’un compositeur de vingt-six ans, Le &lt;em&gt;Voile d’Orphée&lt;/em&gt; se fit d’abord connaître comme le final du ballet &lt;em&gt;Orphée&lt;/em&gt; de Béjart, puis s’imposa comme une musique à part entière. Dans la musique électroacoustique, elle représente la première œuvre de caractère orchestral, avec dans les durées et les masses sonores une ampleur jusqu’alors inconnue, et aussi une générosité d’inspiration poussant l’auteur à abandonner toute retenue pour libérer ses démons intérieurs : étirement extrême et presque douloureux de la durée, cris éperdus lances à la face d’un Zeus qui se tait, jubilation du fracas et de la catastrophe."</text>
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