In 2012, during the recording of the Tryptique disc with the ensemble HOPE, Alain Labarsouque was the artistic director of the project. He asked me what colour I associated with the performance of Erik Satie's first Gnossienne. The euphone uses water to create the conditions for the rubbing of fingers on the glass bows, the shaking of sound mechanisms. In my innermost depths, I saw all music in blue! It was performed in solar white. Back in the studio, the question arose of the sound images perceived internally during the performance and creation of the works. This led to experiments that resulted in a concept: the transposition of the musical gesture to the Plastic Arts.
Technically, this transduction consists of inserting a glass plate between the keyboard and the musician's hands. The water that is traditionally used to rub the glass canes forming the keyboard of the Euphones. It is replaced by a colour palette. Playing is done by free association of the colour with the hands, with the music (harmony, melody, register), in superposition or not. Both sides are used and allow the association of multiple layers. Various musical movements can be made separately and then assembled in the form of a secular altarpiece.
This concept is explored every day and reveals, within a closed system, many voices of experimentation. Each new musical creation is awaited. It allows the interpretation of music to be available as a technique and a potential subject. This practice also has the virtue of providing the audience with a colourful vision of a musical piece that can be heard in real time.
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