Les Flûtes en feu  (1999)

is based on the concept of the composer as an alchemist. With the use of computers and modern studio facilities, the composer of acousmatic music or sonic art, is able to treat the acoustic material as if it was a substance with a constantly re-definable morphology. In the piece the basic sonic ”substance” is some simple sounds of flutes. They are transformed and recomposed in various ways as to give a glimpse of their virtual potential. As the piece evolves, the relatively simple structures reveals new and sometimes surprising sides of their original gestures.

There is also another element reoccurring throughout the composition. A short metallic sound, reminiscent of the sledge hitting the anvil, signals the presence of a force that is about to change the shape of things. Finally, in the end of the piece, the sound of fire, representing the catalysing process of the four elements present as the basis of all alchemy, briefly enters the sonic stage to confirm the process that has been taking place.

As in many other instances where the ambitions of art touches upon the old idea of metamorphosis, working with this piece definitely made me realise that ”all that glitters ain´t gold”. However, as usual when working closely with some sound material, my relation to the flute as a source of sound and as an instrument in general got a lot deeper, witch in itself is a golden experience.

”Les flûtes en feu” was commissioned by IMEB, and was finalised in the studio Circe at GMEB in September 1999. The piece had it´s world premiere in Bourges the summer of 2000.

It was awarded first prize in the ”Metamorhposis” festival 2000.