Construire l’impermanence – temps et immutabilité chez Jean-Claude Risset

In many of Jean-Claude Risset's works – for example in Invisible (1996) and Otro (2011) – there is, beyond the stated esthetical goal or the compositional and technical processes, an erudite reflection on the passage of time, transformation and otherness. Always inscribed in the heart of the mathematical-physical-perception triangle, and drawing on a deep erudition, his works provoke, by playing with the limits of our senses, a questioning on the deep nature of sound and musical construction. In particular, the notion of impermanence - which has come in many of our conversations - appears essential, especially to illuminate the continuum that exists between the instrumental and synthetic writings. We will seek to characterize these principles and then question how Jean-Claude Risset staged the musical time, from the rigorous construction of the timbre by the composer to the unpredictable subjectivity of the listener’s perception.