Où en est la nuit

Darkness from where I draw my origins

darkness that encompasses everything:
forms, lights, animals and myself (…)
And it may be that a powerful energy comes to me *

In girum imus nocte et consumimur igni “We go around in circles at night and we are devoured by fire. ”
This palindrome used by Guy Debord for the title of one of his films, could just as well be suitable for this work. This is a dive (catabasis) incandescent in the depths of the night; and yet it is not a fall; the road turns, spiraling.

The imaginary is built around the darkness and leads to the nocturnal sensation, to the experience of the night. Another word refers to this strange space: hypnagogy, transition state, between sleep and sleep, conducive to apparitions. This place of the night where one immerses oneself is not the total night and without fault, rather the darkness, rough, mate, cottony, crossed by lightning and filigree pursuing a line, which diminishes or thickens, like a charcoal line, rustling at the whim of a faint internal glow. Diotima, the foreigner of Mantinea, who had revealed the spaces in-between, still teaches that poetry makes everything from non-being to being.

In this space, of which the composer says that “the events occur there following the inflections of the musical material, shut or guided by their own necessity, internal progress of the work”, the objects appear, fuse, cross the field , the expanse of the night, deform, deteriorate in a moment of extreme tension. Striking and repeated blows arise, echoes of the clamor of the previous day, echoes of sounds and older silences, hisses, like a swarm, involuntary, obsessive.
* Rilke, poems at night

set
1 alto flute, 1 oboe, 2 clarinets si b, 1 bassoon, 1 horn in F, 1 trumpet in ut, 1 trombone tenor, 1 percussion, 1 piano, 2 violins, 1 viola, 1 cello, 1 double bass