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John Rea followed up his term as composer-in-residence in Mannheim with animmersion in the 1984 summer courses. Here the Canadian composer relates a series ofanecdotes, which include his surprise at being recognized (or actually notrecognized) as the composer of Pincer la musiqueaujourd’hui, and his subsequent attendance at a concert of Xenakis'smusic accompanied by Morton Feldman, who later shared a number of secrets with him.This leads the author to a reflection on the Darmstadt of his generation, and thatof today.Présent au cours de 1984 après une résidence à Mannheim, le compositeur canadienrelate une série d’anecdotes au cours desquelles, il est étonné d’être(ou de ne pas être) reconnu comme l’auteur d’un Pincer la musique aujourd’hui au titreremarqué. Il évoque ensuite un concert de musique de Xenakis auquel il a assisté encompagnie de Morton Feldman, qui lui fit des confidences passablement intimes.S’ensuivent quelques réflexions plus générales sur le Darmstadt de sagénération et sur celui d’aujourd'hui

Darmstadt as Refectory (Mess Hall)