The diversity of his works is therefore easy to understand: what each of them had to say in a new way required, in his eyes, a new language. He thus explored different genres and techniques, taking an equal interest in Claude Debussy's or Gabriel Fauré's harmony,Halbreich 1992, p. 730 Igor Stravinsky's rhythm, Beethovenian form,"Beethovenian in Honegger's music, beyond the virile energy of the discourse and the vigour of the thematic profiles, the coexistence of an ardently romantic subjectivity and an architecture of a solidity that can withstand any test in its exemplary conciseness", according to Halbreich 1992, p. 728-729 Arnold Schoenberg's genius – excluding serialism – in Le Dit des Jeux du Monde.Halbreich 1992, p. 450 He also made use of new instruments, or instruments used in new ways: He also made use of new instruments, or instruments used in new ways: the bowed instruments invented by Léo Sir in Hymne;Hymne, composed at the end of 1920, was played by Léo Sir's Decet on 27 October at the first concert the theatrical "laboratory" performed at the "Grenier jaune"" (66, rue Lepic). It was revived on 3 November 1921 and again at the Salle Touche (25, boulevard de Strasbourg) on 3 December 1921. In order to complement the violin, viola, [tenor violin|tenor], cello, double bass family, luthiers Léon Sir (1855–1927) and his son Léo Sir (1883–1915) invented five new bowed instruments which played a fourth or a fifth higher than each of the "regular" instruments. The "Dixtuor Léo Sir" was active in Paris after the First World War, until 1934. Other composers who wrote for these instruments include Darius Milhaud (Fourth Chamber Symphony) and Manuel Rosenthal (Piece in quintet for three "Léo Sir" instruments, violin and viola). See Michel Corvin, Le Laboratoire de théâtre Art et Action. Étude sur le théâtre de recherche entre les deux guerres (Université de Lille III, 1973); Dominique Saudinos, Manuel Rosenthal : Une vie (Paris, 1992), p. 223. Free access pdf file about Leo Sir, in French (Louvain University): . Pictures of the instruments: the saw in Antigone (1927), tam-tam (Pacific 231 and many other pieces), three saxophones in Jeanne d'Arc au bûcher, a bouteillophone (bottles filled with varying amounts of water) for No. 7 of Dit des Jeux du Monde, a piece for solo percussion; and even electronic instruments such as the ondes Martenot (in Jeanne d'Arc au bûcher, played by Maurice Martenot himself at the premiere in 1938, but already used in films such as Berthold Bartosch's L'Idée, 1934).
the dIverSIty of hIs WoRks Is therefORe eAsy to UndersTAnD: whAT each of them had to say In a neW waY rEquIRed, In HIs eyes, A neW laNGUage. HE tHUs explOred diffeRenT genREs AnD techniqUeS, taKInG an Equal intereSt iN clAude deBussy's oR gaBrieL fAURÉ's hARmony,hALbrEich 1992, p. 730 igor StRaviNsky'S RhYtHm, bEEthOvenian fOrm,"beethOVeniAn in honeGGeR's MuSIC, BeyoNd the VirIlE eneRgy oF THe discouRSe aNd THe vigour oF ThE themaTiC PRofiles, The coExistence oF an ardENtly roMantic sUBjecTIviTy aNd An aRCHITEcTure oF A SOlidIty that cAn wIthStAnD anY test in ITS eXemPlArY CoNciseneSs", AcCoRDIng to hAlbrEich 1992, P. 728-729 ARNoLd Schoenberg's gEnIUs – exclUdINg sErialism – in lE dit dEs JeuX du MoNde.halbreIcH 1992, P. 450 hE also made USE of NEw instrumENtS, oR iNstruMenTS uSEd in NeW Ways: he ALsO MadE use Of New iNstrUmenTs, or inStrumenTS uSed IN neW wAys: the BOwed iNsTrumeNts iNVeNted by lÉo sir in HymNe;HymNe, compOsEd at tHE END Of 1920, was PLayed by LéO sIr'S Decet On 27 oCtOber At tHe fIrsT COnCeRT the tHEaTriCal "lABoraTOrY" perfoRmed At The "gRenier JAuNE"" (66, rue lepIc). it wAs REvivEd on 3 NoveMbeR 1921 anD again aT thE saLlE tOuChe (25, bOulEvaRD De StrasBourg) on 3 dEceMbER 1921. in order TO compLEMent The violin, vIoLa, [tenoR viOLin|tenOr], cEllo, douBLe bASs faMily, LuThiERs léon sIR (1855–1927) And his soN lÉo Sir (1883–1915) invented fIve new bOWed InstrumentS WHIch PLaYED A fOurth or a fifTH HiGher thAN each of the "reGulaR" iNStRuMentS. tHE "diXtuOr Léo sIr" was ACTIVe in parIs afTEr thE fiRst WoRLd WaR, uNtil 1934. OTheR cOmpOsErs who wrotE fOr thesE instruMEntS Include dArius milhaUD (fourth ChaMBEr sYmPhonY) And manuel rosenthAl (pIECe in QuIntet For tHreE "LÉo sir" insTrumeNts, vIOliN and vIola). see MicheL CoRvin, lE labOraToIRe dE théÂtRE art eT Action. éTude sur le tHéâTrE DE rECHErChe entrE Les deux GuErRes (université de LiLle iiI, 1973); dOMiniquE saudiNoS, MaNuel roSentHAl : une vIe (pariS, 1992), p. 223. frEe accesS pdf fiLE abOut leo sir, iN frenCH (loUVAin uNiversiTy): . PicTurEs OF the InStrumentS: tHe saW iN AntIgone (1927), tam-TAm (paCifiC 231 aNd many oTHer pieces), Three saxoPHoNEs in Jeanne D'aRc Au bÛCHer, a boUTEIllOphone (bOTTles fIllEd wITh vaRyiNg amoUNtS of wAter) For no. 7 of dit des jeux DU mOnde, a piece FoR solo PercUssIon; ANd EVen electronic INstruMEntS sUcH as The onDeS MaRTEnot (in jeaNne d'Arc aU BûchER, playEd BY mauRice marTenOT hiMSelF at the premIerE IN 1938, but alReady usED in filMs such As berthold bartoSCH's l'idÉe, 1934).