Beyond their existence as decorative motives in the form of regular geometric figures, interlacings appeared frequently in early art as the undulating and overlapping of waves, or the vibration of air. More recently they have been used to show the complex connections and interactions of a reality that is nonetheless imperceivable to our senses (communication networks, neurobiology, and particle physics). They also evoke the union of independent elements in harmonious cohabitation. Thus the title of this work does not refer in any objective way to a musical result, compositional procedure, or even less, to an essay on the nature of ornamentation. The power of symbolic suggestion and the vast potential of schematic representation connoted by this term, gives the work another dimension, and makes it the bearer of a certain undulating poetic placed in the service of the imaginary and its materialization. The unification and homogeneity of timbres within a frequently monodic (or rather collective) musical discource, reinforces the linear aspect of the writing in Entrelacs. In this piece, line, animated by an internal impulse, is considered a vector. A dynamic, elastic entity, a series of sinuous symmetries unfold within the work that are subsequently twisted and pulled until they break, and lend themselves willingly to several fleeting choreographies. Real and imaginary lines also effectively separate things, and as a result, become borders of sorts. It is from this idea that the formal evolution of the work flows, where contrasts and abrupt changes of direction constitute the various sections of the piece, which in turn become the means of returning to the initial path.
Sunday, March 6, 2005