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One of the pieces in this musical cycle, with the figure of the god Hermes at its heart.
Multidimensional: this is music.
Pure essence of this art.
The unity of a multiplicity.
One body. A living thing.
A vision. An intuition. I’m sticking to it.
I heard a work in its entirety, for an hour-and-a-half concert; with this name, this name, these
name, this word, these 6 letters: Hermès. Solar. Envoûtements.
The voice. Solo. In chorus. Vocal, that’s for sure. The future axis of lyricism. Lyricism new by definition, since vocal music was born.
And sound matter, which would be non-vocal, without the incarnation of a face or a singing people, will be pure, organic, radiant chaos. Invent a radiance that absorbs and transfigures the acoustic material, whether it’s traditional, and therefore infinite in its heuristics, because it’s human, with pulsating blood and choreographed gestures. Or whether it’s that instrumental dawn that’s so devious and promising: new technologies.
A certainty, right from the start of writing this fifth piece in the cycle:
The form will be vitreous, organic, interwoven with many dimensions of listening, taking the orchestral material to the limits of listening habits, yet familiar. Form in fragmented, rapid, dreamlike developments. Short-circuits. Speeds and broad horizons.
A hallucination. A city populated by naked acoustic rays, by high-radiation sound bodies.
Singing bodies are the essence of the message.
This is the score for Hermès V.
The fifth piece in this puzzle of light: Hermès.
Paris, April 13, 2017
|Dimensions||42 × 29,7 cm|