Written Matters | Ecrits | Bibliography

Bibliography | Bibliographie

All the books listed below have been published in French language only.
Les livres qui figurent sur cette liste sont tous en langue française. 

Dialogue avec la Nature
Par Laurence Bancaud
Editions Cig’art
Dialogue avec la Nature

Le Temps Suspendu
Par Laurence Bancaud
Préface de Michèle Reverdy
Editions Jobert

Le Temps Suspendu

Some interviews with Tôn-Thât Tiêt are also featured in the following books about André Jolivet, his teacher and Maurice Ohana, a fellow composer and close friend.

Des entretiens et témoignages de Tôn-Thât Tiêt ont été publiés dans les ouvrages parus sur André Jolivet et Maurice Ohana:

André Jolivet
Par Lucie Kayas
Editions Fayard

André Jolivet : Portraits
Collectif sous la direction de Lucie Kayas & Laeticia Chassin-Dolliou
Editions Acte Sud

Jolivet II

Maurice Ohana
Par Edith Canat de Chizy & François Porcile
Editions Fayard

Interviews and Written Matters 

On an Overgrown Path‘s Bob Shingleton gives an intriguing sketch of the Vietnamese composer Tôn-Thât Tiêt well worth exploring…

“A chance path leads from my recent articles about Philippa Schuyler to the Vietnamese composer Ton-That Tiêt. In her biography Kathryn Talalay tells how Philippa entered into a relationship with an American intelligence officer called Jim Leiter during her first visit to Vietnam in 1966. The biographer describes one of their meetings as follows:

‘Philippa saw quite a bit of Jim. One evening as they were sitting in the jeep gazing at Hué’s Perfume River, he told her she was the first good thing that had happened to him since he had come to Vietnam.’

The Perfume River provided the inspiration for Et la rivière chante l’éternité (And the river sings for ever) written in 1998 for string trio by Ton-That Tiêt. Born in Hué in 1933, Ton-That Tiêt, who is seen above, moved to Paris in 1958 and studied at the Conservatoire where his reachers included Jean Rivier, André Jolivet and Andrée Varabourg; the latter is better known as Mrs Arthur Honegger and among her other pupils was Pierre Boulez.

Philippa Schuyler and Ton-That Tiêt may be linked by the Perfumed River at Hué, but their music could not be more different. Although Philippa had what John MacLaughlin Williams describes as “a healthy curiosity about the modern music of her time” she did not stray from her tonal roots. By contrast Ton-That Tiêt’s journey took him beyond serialism to a unique style that combines Eastern and Western elements. His output includes electro-acoustic compositions among which is a work for for flute and magnetic tape commissioned by IRCAM.”
To read more: On an overgrown path | Tôn Thât Tiêt



Interview with Vietnamese composer, Ton-That Tiet | UNESCO Courrier, March 1998

by Isabelle Leymarie


Ton-That Tiêt, who was born in 1933 in Huê, the former capital of imperial Viet Nam, and has lived in Paris since 1958, is a composer who has succeeded in marrying Western musical styles with a profoundly Oriental form of thinking and sensibility. Silence, as well as the expressive beauty of sounds, plays an important part in his works, which reflect their author’s preoccupation with the harmony between humanity and the universe.

* How did you come to Western music?

Ton-That Tiet: When I was about fourteen or fifteen, I wanted to play the violin. My brothers and sisters clubbed together to buy me one, which they arranged to be sent from France. One of my cousins, who played the violin a little, gave me lessons, but when he emigrated to France, I found nobody in Hue to replace him and I had to work on my own, with a method and scores which I ordered specially.

* How did you continue your studies?

T.-T. T.: I dreamed of going to Paris and entering the Conservatoire. I worked and saved for two years in order to pay for the journey. When I got to Paris, I was introduced to a teacher at the Conservatoire, Georges Dandelot. My knowledge of music theory was so sketchy that I had to start all over again, or almost. I had so much work that I had to give up the violin. I soon learned that I could not work at an instrument and go in for advanced theoretical studies at the same time. I also studied counterpoint with Madame Honegger at the Paris Ecole Normale de Musique. At the end of two years, I obtained a degree in harmony and applied for a place at the Conservatoire.

* Were you already composing?

T.-T. T.: Not yet. However, in order to be accepted in the composition class, I had to submit something. I composed a piece for string quartet which left no abiding impression. When I started to study composition in the early 1960s, I was attracted by serial music and started studying it by myself. At the time, many of my fellow students were composing in that idiom. However, my teacher Jean Rivier advised me to give it up. One day he said to me: “Go back to Asia and try to find your own way”. He encouraged me to go deeper into my knowledge of Asian traditional music and to study Oriental philosophy. Andre Jolivet, who took over from him, was also a considerable influence on me in that respect. Rediscovering Oriental thinking was an important step, because it created a mental universe which enabled me to find my own personal style. At the end of three or four years, Jolivet saw that the path I had chosen was beginning to emerge.

* How did you rediscover Vietnamese music?

T.-T. T.: The Guimet museum in Paris has a collection of recordings of Vietnamese music and used to hold concerts of Oriental music. The musicologist Tran Van Khe, who worked there, introduced me to Buddhist music.

* How did you come across the idea of composing on the basis of the five elements: wood, fire, earth, metal and water?

T.-T. T: By studying Chinese philosophy, and especially the Yi Ching. My first work, an orchestral piece called Five Elements, which was based on the Yi Ching, was composed in 1972, and I returned to the same theme in 1981. However, I did not use the Yi Ching in a random fashion, like John Cage, or as a divinatory form, since that did not interest me. What fascinates me in the Yi Ching is the explanation it gives of the evolution of the universe. I also took an interest in Great Vehicle Buddhism, but strictly from a philosophical standpoint, since I do not practise any religion. The two main themes of my work are humanity and the universe. Buddhism and the other Oriental philosophies stress universal love and the fact that all human beings are brothers.

* Do you use Asian instruments in your compositions?

T.-T. T.: I used a single-stringed instrument on one occasion, in a piece for flute and magnetic tape commissioned by the French Institute for musical-acoustical research and co-ordination (IRCAM).

* What projects do you have in hand at the moment?

T.-T. T.: I am working on a second ballet for the Regine Chopinot company – I already wrote one for them in 1996 on the theme of fire, in harmony and opposition with the five elements. I am now looking into the concept of time. I am interested in handling this theme in the Oriental rather than Western manner. The West invented linear and cyclical time, whereas in Asia the concept of time draws on its absence, since time does not exist in the universe. The Yi-Ching speaks neither of beginning nor end. There is no original “big bang”.

* You are also endeavouring to safeguard the musical traditions of Viet Nam.

T.-T. T.: In 1992, I had an opportunity to attend some courses on traditional music at Hanoi Conservatory and I was appalled at what I heard: the music had been altered and harmonized and new features had been tacked on to it.

The following year, in Hanoi, I met a very old woman who was a wonderful exponent of ca trù, a style of singing notable for its vibrato and special vocal techniques. She was the only surviving exponent of this style. I asked her to train some young singers, so that the tradition would not be lost. In fact, the family of musicians accompanying her had a daughter who sang some catru. Madame Quach Thi Ho agreed to take her under her wing.

In Hue, I contacted all the performers of traditional music. I organized a meeting with the three leading master musicians and asked them to recreate a court music orchestra.

They regularly sent me cassettes, so that I could hear what progress they were making. After one year, the imperial orchestra was proficient, but the younger musicians still had to be trained. I was amazed to find that the girl who was learning cairn had perfectly mastered the vocal technique. I was subsequently able to organize a concert of traditional Vietnamese music at the Maison des Cultures et du Monde in Paris in 1995.

COPYRIGHT 2004 Gale Group


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