Saarbrücken Opera Ballet
Invited to compose music in direct connection to such a masterpiece as the work of Beethoven, my intuition is to approach, to stand next to, and to amplify, rather than to establish a real dialogue. Through a compositional action divided into two phases, analysis and composition, I attempt to embed my music into the original score respecting some of the musical aspects, such as harmony and timbre, but while radically changing others, such as time, rhythm or melodic figures. Through this encapsulation my music yet explores a sort of opening, towards another way of experiencing musical time, inspired by Gérard Grisey’s work and spectralism in general. Analysing “The Creatures of Prometheus” from the sole point of view of the timbre, and ignoring every functional aspect, I developed a computer program using electronic synthesis, able to faithfully reproduce the orchestral timbres. With the objective to slow down the perception of time and to widen the perception of space, this almost mimetic electronic timbre finds itself directly interlinked with the score. The “glue” that holds together the original score for orchestra and the electronic music can therefore be found exclusively in the sound itself. Using this timbre consistency, my music tempts to build its own speech on continuity, rather than marking moments of distinction. The electronic parts deeply coexist with the orchestral music, broadening its perception and possibilities. The various electronic interludes throughout the original score are equally part of the composition, forerunning and preparing a final blast, a conclusive movement that finally opens up to new timbres, rhythms and unsuspected harmonies.