Java Rosa (Printemps des Saisons)
Françoise Barrière - 1972

Duration: 17' 40

“As suit to the energy that Nature expends on the annual cycle of rebirth, there follows a time of sweet madness and mirth, of human beings in gay abandon. The careless gaiety of birds in springtime mixes with the song of life. After sunshine, there must be rain and after rain, sunshine.... but tenderness is ever present. That’s what Java Rosa is about” (1972).

Following an invitation from J. A. Riedl, in charge of the musical programming, asking GMEB to participate in the Olympic Games, Munich ‘72, Christian Clozier (with whom I had been directing the Group for the last 2 years) conceived a project which had for a theme “The Seasons”: a suite for electroacoustic music. He was looking for a universal subject which he could propose to composers of different nationalities and which would at the same time underline the validity of the convictions we held at the time: that of electroacoustic music being easily accessible to the public and the possibility of a real dialogue and non elitist communication, as the music was composed around a theme as universal as “the Seasons” and was a part of a show built around its axes of time and semantic.

This was a multi-media show made up of dance, theatre, films, slides and video. We also wanted to underline the fact that electroacoustic music reflected a marked cultural and national identity, a quality pratically non-existant in contemporary instrumental music. Thus it followed that we invited 10 composers from 7 different countries to compose a piece of music using one the Seasons or a Solstice for a theme. Autum : Dieter Kaufmann (Austria) ; Peter Kolman (Czecheslovaquia) ; Solstice : Jorge Ariagada (Chile) ; Winter : Beatriz Ferreyra, Luis Maria Serra (Argentine) ; Spring : Françoise Barrière (France), Lorenzo Ferrero (Italy) ; Solstice : Alain Savouret (France) ; Summer : Christian Clozier (France), Elisabeth Sikora (Poland)).

We went to the extent of specifying the season each composer was to work on and recommended that they used musical and literary citations from their respective countries and cultures. Six works were used to realize the multi-media show first performed in Munich. I was given the task of composing a piece on Spring. In my Jardin Imaginaire, the notion of spring is tied not only to Nature’s cycle of rebirth, but also to outings in the country in the company of friends à la Renoir, to impressionist paintings and to the French custom at the turn of the century that of spending Sundays in the guinguettes on the banks of the Marne –wherefrom emanate the dance citations and the title of the piece.