Musical works

My Cinq pièces pour quatuor à cordes [Five pieces for string quartet] explore the idea of a “rhythmic cubism”, where each new motivic fragment suggests a different temporal point of view, by making heard a polyrhythmic relation with the previous fragment. These pieces are generally not conceived from a common metric grid, but only on temporal relations between different voices, in a way similar to harmonic relations produced just intonation techniques. This structural conception make use of the relative character of rhythm notation and perception: a tempo can be heard as a main —or a secondary rhythmic pulse, depending on the adopted perspective. These series of simultaneous metric modulations produce a polyrhythmic mosaic, that aims at multiplying the temporal reference points. More generally, this approach inscribes itself in a “poetics of assemblage”, sort of free re-reading of formal conceptions characteristic of arts and and architecture of the late Middle Age and early European Renaissance.