" Trame X "
For solo accordion and flute, clarinet, bassoon, horn, trompette, 2 percussions, harp, violin and viloncello
- Nominated for : The Musical Composition Prize 2013
W O R L D P R E M I E R E
January 12th 2012 - Ensemble 2e2m – CRR de Paris - Max Bonney, accordéon - dir. Pierre Rouiller.
Trame X for Accordion and ensemble continuos a cycle of concertos initiated in 1997. My interest in reinterpreting the concertante form lays in the complex relations that could be established between a writing that valorizes all the instruments and the
soloist. The generic name of trame is borrowed from Jorge Luis Borges homonym poem. In this poem Borges reveals us the synchronicity that exists between all the elements that constitute the “Universal history”. Less ambitious and more circumspect my trames refers simply to the plot weaving, the fil d’Arianne, apparent or hidden, proper to each composition.
This work is constituted by 4 linked sections with almost no transition, each movement being the affluent of the preceding one.
As such the first movement develops in a sonorous field where events interact with velocity.
The compositional process, by contrast, is circular and therefore static. Two distinct layers make up this section: a background were a pulsation dispatched within the ensemble is stablished and a foreground layer made of objects or small forms embedded in this moving fabric of sound.
The second section - more harmonic in nature - four distinct layers are superimposed on one other : the first - an harmonic progression generated by the vibraphone (and sometimes the accordion) extended by winds instruments who transform these harmonies into acoustical interpretations of electronics treatments such as granulations, filters, ring modulations, spectral delays... The second layer, articulated by the accordion and corroborated by other low instruments that mime the soloist, form nebulous and undefined objects in the lower regions of the spectrum. The third layer is taken care by the violin who does a long and slow glissando that go across the whole movement, modifying thus the stability of all the other layers described hereupon. The fourth layer, much more simple in nature is an irregular punctuation of the movement articulated by pizz. of the cello.
The third section is made up of two different layers: a kind of phantom pulsation done by breath (fl, cl) and extended techniques that result in a similar sonority (cello sul pont...) and forms and objects mainly articulated by the soloist and enriched by the rest of the ensemble.
The fourth movement, in suspension, is formed by a single layer taken care by the accordion, the rest of the ensemble plays the role of a “caisse de resonance” and a sophisticated extension of the timber of the soloist.
From a temporal point of view I tried to use a large part of the spectrum: from a clearly defined pulsation [1st movement] passing through a phantom pulsation [third movement], a suspended time without pulsation [4th section] and a subtle combination of temporalities described above [2nd movement].
It is therefore in the becoming and the transformation of each section as well as the dialectic between the various movements that the trame of the work is woven.