The flow is constantly facing the ebb. Everything lies here. I wanted to illustrate the perpetual attempt by the solid and the fluid to interpenetrate via this experimental approach through earth, sea and air: overlapping elements folding inwards, bursting as tiny particles toward soft and flat surfaces. The impression of fixity conveyed by the obsessive repetition of a sounding object dissolves and breaks through this dialogue between sound entities of a different nature, eventually shifting into a movement.
This electroacoustic piece, articulated into two clearly distinct parts, draws its sound source from the classical and unorthodox instruments -- metal sheets, glass rods, etc. -- invented by the Baschet brothers. I wanted to show the contrast between the rhythmic repetition of a sounding object, which gives out a feeling of fixity, an electroacoustic flavour and the continuous re-creation of the same sensation through similar yet not identical sounds. (BF)
Un fil invisible, 2009 (17'00)
For Christine Groult
This piece was inspired by the various stages of Medieval Alchemy. The alchemical process is one of transformation, whose actual subject is the alchemist himself. Here, the process is inextricably tangled with the transformation of sounds and the very structure of the piece. (BF)
Médisances, 1968/69 (7'00)
This electroacoustic piece for 4 channels was produced by manipulating such items as orchestral instruments, a mouth bow, breath and some unexpected technical defects. "Slander" is not meant to be of a descriptive nature and any interpretation of the music along those lines would be a complete misconception.
Honi soit qui mal y pense! (BF)
Les Larmes de l’inconnu, 2011 (18'27)
There are as many Qabalahs as there are Qabalists (Carlo Suares). This is the first part of a work inspired by the Qabalists Carlos Suares (consciousness-energy), Rivka Cremici (charm of the mystic energy) and Shinta Zenke (dazzling Hebrew calligraphy) to whom I dedicate this music. Through its letters-numbers, the Qabalah expresses three different levels of "primordial equation of the universe": the level of the archetype, that of the event and the incarnation, and the universal and cosmic level. This whole piece draws its fundamental inspiration from the schemes built by letters and numbers, added to the three levels of understanding of the universe.
I would like to thank the wonderful flutist Hernan Gomez for his kindness and his musicality during the recording. (BF)