term "trance" which, during the Middle-Ages, meant "to
leave, to pass away, to flow out," comes from the Latin, "Transire."
Starting in the fifth century, it often meant fo "pass from
life to death," or from one existence to another, similar in
meaning to the term "Samadhi" in Hinduism.
Though the expression "to enter into trance" in the sense
of a particular psycho-physiological state appeared in the XIV century,
the trance state itself has been known to Man from the beginning-less
In the wake of their October 2009 show presented in Montréal at
the invitation of the Festival du nouveau cinéma, Belgian pianist-composer
and painter-filmmaker Jean Detheux (Belgian
also, residing in Montréal) pursue their exploration of the mysterious
relationship between music and images with a new concert combining music
Frescobaldi to Pollock, from Rembrandt to Steve Reich" (FNC 2009),
they now invest in the exploration of the universe of the trance. Through
the incantatory and suspended music of Giacinto Scelsi
(Suite #9, "Ttai"), the obsessional rhythmicity of John
Adams' Phrygian Gates, and an improvisation, it is the state
of listening ("l'écoute" in French) which is questioned,
particularly that moment when the field of consciousness collapses due
to a hypnotic effect, and when the music-image association carries us
"elsewhere," within our self. In the commentary of his piece,
Scelsi writes: "This suite must be listened
to and played with the greatest inner calm. Agitated persons must abstain!"
For him, repetitivity is a means to reaching the very soul of the sound,
to reaching a state of quasi mediumistic receptivity of an energy that
transcends us. It is worth noting that the sophisticated minimalism of
John Adams, through its repetitions, its large developments
but also its abrupt ruptures and its sound effervescence ("bouillonnement
sonores") bring us to a state similar to Scelsi's music, but by following
different paths. Occurring between the two, Jean-Philippe Collard-Neven's
improvisation will act as a bridge (aren't "trance" and "transition"
also related?), a moment of connectedness to the "here and now,"
a tie between the written and the fugacious. Jean Detheux's
animated images bring to that universe of sound the vertiginous dimension
of a visual echo which could be like the filming of an inner world, with
its endless subtle and imperceptible fluctuations.