Over the past few years, my instrumental research hangs on two major hinges: a deliberation on the bassoon as an object crystallising a western musical tradition; a radical diversion using a literal deconstruction of the instrument, played, broken up, amplified. In the same while, I never approached this exploration as an end in itself. I am interested in seeing how these two separate uses model the musical gesture, i.e. not only influence the production of sound but me too, as the creator of that sound.



My residency at Q-02 will prove the ideal opportunity to study these two approaches further (acoustic/amplified; all/gone), that will be used respectively in a dialogue with two improvisators: Ferran Fages and Bonnie Jones.

The first duo is an encounter. We decided to stick to a very specific sound material: the sharp overtones of the bassoon for me and feedbacks for Ferran. We chose this restrained palette for a certain analogy as to the sound result and the inherent fragility of these two materials. The music we aim to create will stem from this ambivalence between instrumental control and imminent chaos, doing and laisser-faire.



The second duo is the continuation of an on-going collaboration. Last year, Bonnie and I developed a project around the sound fluctuations of metal, wood and printed circuits. Our approach exploits the superimposition of different phrases resulting from our respective physical constraints: the breath and touch.