{"id":1415,"date":"2012-11-22T22:23:46","date_gmt":"2012-11-22T21:23:46","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=1415"},"modified":"2022-11-01T13:55:59","modified_gmt":"2022-11-01T12:55:59","slug":"trois-portraits-dun-oiseau-qui-nexiste-pas-de-robert-lapoujade-1965","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/trois-portraits-dun-oiseau-qui-nexiste-pas-de-robert-lapoujade-1965\/","title":{"rendered":"TROIS PORTRAITS D’UN OISEAU QUI N’EXISTE PAS de Robert Lapoujade (1965)"},"content":{"rendered":"

The text and video excerpt below document the book by Philippe Langlois, Les cloches d\u2019Atlantis, Musique \u00e9lectroacoustique et cin\u00e9ma, Arch\u00e9ologie et histoire d\u2019un art sonore,<\/em> <\/a>\u00e9ditions mf, Paris, 2012.<\/p>\n

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Starting from a poem by Claude Aveline, \u201cPortrait de l\u2019oiseau qui n\u2019existe pas\u201d, Robert Laoupjade makes this short animated film, \u201cTrois portraits d\u2019un oiseau qui n\u2019existe pas\u201d (bird of prey, hummingbird, songbird). A painter and filmmaker, he achieves in this film a synthesis of these two means of expression by setting in motion, thanks to the animation technique of powders and various materials, a painting in perpetual change.<\/p>\n

For this film produced by Roger Leenhardt, the musical collaboration of a renowned composer such as Georges Auric or Henry Sauguet was envisaged. According to Fran\u00e7ois Bayle, the production was looking for an illustrious signature to complete an already prestigious cast. Yet, after numerous delays in the delivery of the images, Georges Auric and then Henry Sauguet withdrew, and the presentation of the film, as part of a festival taking place very soon, prompted the Service to appoint Fran\u00e7ois Bayle as a last resort. He was asked to compose a \u201ctemporary\u201d music, a few days before the film\u2019s presentation.
Fran\u00e7ois Bayle\u2019s music, based on the idea of sonic mutation, gives at once an equivalent and a parallel to the plastic beauty of Robert Lapoujade\u2019s half-figurative, half-abstract images. The score comprises a horn, a harpsichord, an oboe, as well as concrete sounds.
The general form of the music is disparate, without any real continuum; the sounds obtained with this heterogeneous ensemble, made up of scattered noises and surreal croaking, give us to hear an imaginary sound world that fits the images of Lapoujade by aleatory synchronism. Modestly, Fran\u00e7ois Bayle claims to have \u201cin a few days, knocked out an unexpected and jaunty music that suited Lapoujade\u2019s images very well\u201d.
Naturally anxious, like most film people faced with their silent images, Robert Lapoujade is finally satisfied with Fran\u00e7ois Bayle\u2019s music. Well defended by the director, the film\u2019s music was finally adopted without any other composer being called upon for a definitive version.<\/p>\n\n\n