Cosmogonie (for 16 tracks of cello): The
first step was to create a set of various sounds using different
techniques to play: noisy (play on the bridge), squeaky (play on the
tuners or near the nut), without generator (ponticello), with the wood
of the bow...Then to compose...
The result evokes in me a kind of cosmogony: a certain harmony emerging
slowly from original chaos. Accidents occur. Finally this harmony evolves irremediably to the disorder and the destruction.
Read here the critic of Black Sifichi
Ambitus(for virtual piano) (Ambitus = distance between highest and lowest note in a melody)
1: Gushing - 2: Turbulences - 3: Sinking- 4: Cataclysm
Listening to some works of serial music (such as Sur Incises from P.
Boulez) gave me the idea to compose not with notes but with flows of notes whose melody
would be completely random. Thus, the first step was to elaborate several kinds
of flows with various characteristics in term of ambitus, intensity and
tempo (null, weak, strong, variable, constant, explosive, equally
spread). Then, I composed, using this new sound material.
Au double archet / The double bow (for two cello)
The double bow allows me to associate/oppose at the same time conventional
sounds and squeakier sounds (obtained by playing on the tuners).
Homophonie (for piano and synthesizer)
I think to Giacinto Scelsi who
played during several hours the same note of piano, to immerse on his
listening...Starting with a simple note from the piano (in fact a chord
A-1/A0) and destroying insidiously this subtle balance using the
synthesizer: modifications of the envelopes and of the harmonic
contents until the most excessive sound combinations...this was the
London 1848 (for real piano)
Small electro-acoustic work using my piano, manufactured in London in 1848.