Spartiti Tristan Murail per orchestra

[...] (Les Sept paroles) benefits from the most recent developments in vocal synthesis. Instead of computer intervention during the concert, an extensive collection of samples elaborated by the compos...

It was with Le Partage des Eaux that I began studying highly complex sounds - noisy sounds, natural sounds. This exploration continued in a more systematic way with Bois Flotté (sea sounds, the sounds...

In the mind of a composer, the concept of method is pivotal. At the beginning of this work, an opening figure provides the initial presentation of musical material that will, after a pause, be taken u...

To begin with: a desire for lightness, flexibility, versatility, the preoccupation with avoiding grandiloquence and rhetorical effects as much as possible.Few violent and forthright contours, but rath...

It is at once a continuation of Murail's previous explorations and a radically new departure. Whereas most of his previous music relied essentially on continuous transformation of the material, Time a...

Sables returns to certain preoccupations addressed in Altitude 8000, and takes them further: an absence of punctual events (no percussive sounds), extreme continuity (no silence, aside from the beginn...

Contes cruels for two electric guitars and orchestra is not a double concerto per se: the guitars are stealthy intruders within the orchestra and give the cruel tales an unusual colour. The second gui...

Une de mes premières pièces pour orchestre s'intitulait "Altitude 8000". J'avais eu, alors, l'occasion de survoler les Alpes un matin d'hiver, entre Paris et Nice, et j'avais été fasciné par le specta...