Duration: about 15'

Not created

          Cette œuvre doit à une personal vision of Asia its poetic sound by marrying the marimba to all sorts of other instruments as if it were one and the same instrument. It is therefore not a work for solo marimba to which I would have added instruments but on the contrary a hybrid work (hence the title) where the choice of motifs depends on the combinations of colors and their ability to adapt to the various instruments in order to move from one to the other continuously. We will speak here of chamber music as the percussion is treated for its multiple colors, combinations, sensitive balance... which does not exclude real bursts.

No sound is truly pure.     Everything hinges on contamination, impurity, mixing. This hybridization therefore affects the relationship between the instruments. Either the marimba “colors” the other instruments, or it is the opposite, or the various instruments color each other. The choice of heights, as well as that of patterns, turns out to be less important than the color combinations. It is not a "melody of game modes" but truly a "melody of colors, of timbre". Most of the compositional work resides in the combination - and the consequences of these on the form - of timbres, modes of attack and areas of play (registers).

          Ce mélange de couleurs est in the image of the mixture of cultures of this vast continent. This produces a music made up of a mosaic of motifs where nothing is ever really installed, except in situations where in a repetitive way everything is repeated “in a loop” in an almost insane way. Never stay in a situation (neither simple nor complex), always evolve and change, mutate by ruptures, by mixtures, by appearances, by disappearances...this is what this writing offers, poetic where the assembly and combination of colors and different materials are the image of life. Like a living organism, this sort of “hybrid being” participates in several different simultaneous worlds and origins.

          C'est ainsi que this work joins the theme of Asia. My vision of this multicultural continent is that of a multiple, chaotic, sometimes violent entity, with an exponential vitality like no other, where anything can explode at any moment. My Asia is not an outdated, backward-looking and whimsical vision of a lascivious, mystical Orient, made of opium and other nonsense that is well-worn today. On the contrary, my Orient is teeming, multiple, contradictory and colorful.

          Le besoin d'apaisement in the face of this daily violence is given, among other things, through religions and a relationship to the world that implies the sacred as a tangible reality. In this surging music, the appeasement of the sacred translates into short tracks where time remains “as if suspended”. The crystalline sound of two bowls from Buddhist temples as well as the use of five drums and five Chinese cymbals - instruments less dazzling than their Western counterparts - contribute to this vision of things.

         L'œuvre se termine de rather tragic way as if the confrontation of culture with culture could only be borrowed from deaf or direct violence. There is not really any appeasement in this work as a strange anxiety seems to cross it. However, by invading the sound space, the crystalline sound of the two bowls translates what resists in the East in the face of globalization: a certain relationship to the sacred or the spiritual.