Lara Morciano (1968)

Entangled (2004)

pour flûte et ensemble

  • Informations générales
    • Date de composition : 2004
    • Éditeur : Suvini Zerboni
Effectif détaillé
  • soliste : 1 flûte
  • 1 clarinette, 1 saxophone alto, 1 cor, 1 trombone, 2 percussionnistes, 1 piano, 1 alto, 1 contrebasse

Information sur la création

Note de programme

In this work, which continues the compositional research begun in the piece Tangle for flute and electronics, the material proposed by the flute is the starting point for a process that foregrounds analogies, points of contact and correspondence between the instrumental writing for the ensemble and the elements presented by the soloist. At times the soloist is integrated into the instrumental texture; at times he is completely absorbed by it, and at times he is isolated – in highly idiomatic moments of great virtuosity.

The quest for homogeneity/differentiation and the process of timbral/sonic derivation – which accompany the flute's passage through different, alternating acoustic spaces – can be heard, for instance, in the use of noisy/breathy and "percussive" components of the flute's sound, which are quoted and amplified by similar material in the ensemble. Moments of proliferation and multiplication of sound material are followed by sections in which the compositional elements generated are distributed to the entire ensemble – through an instrumental writing built out of echoes and fragments, references and "shifting pedal tones" – spreading out and moving through space by means of resonances and subtle trajectories of acoustic propagation.

  1. CAUSSÉ, Réné, SLUCHIN, Benny, Sourdines des cuivres, Paris : Editions de la Maison des sciences de l'homme, 1991. 

  2. Yan Maresz, cité par Bruno Heuzé, dans HEUZÉ, Bruno, « Yan Maresz, Portrait », Résonance, Ircam/Centre Georges Pompidou, n° 14, septembre 1998, page 16. 

  3. SAARIAHO, Kaija, « Timbre et harmonie », dans Le timbre, métaphore pour la composition, Jean-Baptiste Barrière, éd., Paris, Ircam - Christian Bourgois, 1991, p. 412-453. 

  4. GRABOCZ, Martha, « La musique contemporaine finlandaise : conception gestuelle de la macrostucture / Saariaho et Lindberg », Cahiers du CIREM, Musique et geste, n ° 26-27, décembre 1992-mars 1993, p. 158. 

  5. BATTIER, Marc, NOUNO, Gilbert, « L'électronique dans l'opéra de Kaija Saariaho, L'Amour de loin », in Carlos AGON, Gérard ASSAYAG, Jean BRESSON, The OM Composer's Book, coll. Musique et sciences, Ircam, Centre Georges-Pompidou, 2006, p. 21-30.