Jean-Louis Poliart


Jean-Louis Poliart achieves traditional musical studies in the classes of piano and composition at the Royal Conservatory of Mons (Belgium). In 1993 he obtained a first prize in electroacoustic composition in the class of Annette Vande Gorne at the Royal Conservatory of Brussels. His studies in electroacoustics were crowned by a higher diploma in 1996 in the class of Annette Vande Gorne at the Royal Conservatory of Mons.

He directed the academy "La Chantrerie" in Soignies from 1986 to 2008. He created a course of electroacoustic composition of acousmatic type in September 1994. The latter is particularly intended for children (a first in Belgium at the level of music academies).

His creations range from electroacoustic to instrumental music, passing through audio-art, soundscapes (for visual arts exhibitions, commemorations etc.), sound installations and mixed music.

On the other hand, he does not disdain musical adaptation.

He does not hide his great passion for electroacoustics and takes pleasure in kneading sounds as a potter does with clay. He thus creates correspondences between sounds, ideas and images,

Thus, through a certain naivety completely assumed, his sound processes are similar to madrigalism.

Technically he favors poor means of sound production.

He is a member of the “Forum de la Création Musicale” and of the FeBEM (Belgian federation for electroacoustic music)

déploration sur la disparition d'un musicien (Lament on the Death of a Musician) , 2013, 10’ 32’’

Realized in the Studio"Akousma",  Academy of Music of Soignies, Belgium, and in the composer's studio

created on March 27  2013 Senghor (Brussels)

A term rarely used now, the lament is a genre used in vocal polyphony in the Middle Ages and the Renaissance.It celebrates the death of a musician.

However, along with the lament aspect, this piece proposes, above all, a sonic story. This "cinema for the ear" expresses a particularly painful trajectory towards the unique certainty of the human being; the process of the destruction of the body until its liberation. All that remains afterwards is the wind.

The sound timbres pertaining to the human voice refer to the genre of early music.The sounds generally unfold in a disorderly effervescence of micro-variations as an expression of the fragility of life.

A long crescendo, engendered by a dramatic silence, leads to a first climax.  A second crescendo, which is a variation of the first, leads to the overall climax of the piece and foreshadows, during its development, the final lament. Afterwards, the music expresses the painful breathing, death and lamentation in sequences that become longer and longer and more and more serene.  Coming, as a coda, are sentiments of liberation and oblivion.

The piece ends in a long silence, as a counterpart to the silence in the beginning.

It tells the experience of the composer in front of a very painful death.

This work was composed with the help of the Wallonia-Brussels Federation, Directorate of Culture, Department of Music.