Philippe BOESMANS (born 1936). Autograph musical manuscript, Intervalles for orchestra, 1972-1976; [1]-50 sheets 43 x 31 cm. Orchestral score of these three Intervalles, written over a period of five years. Intervalles I was premiered on October 23, 1972 at the Société Philharmonique de Bruxelles by the Orchestre national de Belgique, conducted by Michaël Gielen, and published by Jobert in 1973 (duration 10 minutes). Intervalles II was premiered on 20 November 1973 at the Conservatoire de Liège, as part of the Concerts Froidebise, by the Jeunesses musicales and the Orchestre philharmonique de Liège, conducted by Pierre Bartholomée, and published by Jobert the same year (duration 15 minutes). Intervalles III was premiered on March 23, 1976 at the Festival international d'art contemporain de Royan, by the Orchestre philharmonique des Pays de la Loire under the direction of Jean-Claude Casadesus, with the soprano Elise Ross, and published by Jobert the same year (duration 7 minutes). [WD8]. The orchestra, divided into two symmetrical ensembles, one on the left, the other on the right, includes 4 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 4 trombones, 2 tubas, 4 percussionists, 2 harps, 2 pianos, 14 violins, 12 violins II, 12 violas, 10 cellos, 8 double bass. A solo voice (soprano) is added for piece III, on a poem by Bertolt Brecht : " Wirklich, ich lebe in finsteren Zeiten "... (extract from An die Nachgeborenen des Svendborger Gedichte). "The series of the three Intervals inaugurates the use of the large orchestra, which from 1972 onwards will have a predominant place in the production of Philippe Boesmans. The three parts were written separately: the desire to write a new one arose each time after finishing the previous one. The consistency of the orchestration and the harmonic system form the basis of the unity of this triptych. The composer started from a play on the notion of interval, which is applied here to three dimensions: pitch (the melodic-harmonic datum), time (the moment that separates two events) and space (the physical distance between two instruments stating a similar motif). The temporal dimension is made perceptible by the reiteration of events, sometimes transformed, sometimes simply repeated; it is associated with the play of space created by the orchestra arranged in two similar groups" (Valérie Dufour). The manuscript is carefully written in Indian ink on the front of large sheets of tracing paper with 32 lines; all the measures are numbered; there are a few traces of corrections by scratching. Room I bears the dedication "to C. V." and counts 180 measures (p. 1-17); II (p. 18-34) counts 212 measures; III bears at the head the dedication "to Marcel Lemaire", and at the end the date "7/1/1976", it counts 119 measures plus 4 unnumbered (p. 35-50). Plus a sheet of indications on the composition of the orchestra and the explanation of certain signs. Attached are 2 autograph parts in pencil of the voice (for Intervalles III) noted on 2 staves: voice, and orchestra reduction on the 2nd (3 oblong pages of an oblong bifolium 27 x 37 cm, and 4 pages on 4 tracing sheets 35 x 27 cm), rectifying in the margins of errors in the score