Program note

The conceptual underpinning of Schistosité II draws inspiration from its geological namesake and recontextualises its structural principles within a sonic paradigm. Through an initial decontextualisation of the concept from its scientific domain, the work treats sonic materials, sound transformations, and phrase structures in accordance with these principles. In this context, “structure” refers to the organisation of sonic particles, encompassing temporal, spectral, and spatial relationships between components, their relative proportions and shapes, and the internal characteristics of each segment. Likewise, “texture” denotes the interplay of proportions, shapes, spatial disposition, and polyphonic or homophonic relationships among patterns and gestures, together with their internal attributes, operating across both micro- and macro-temporal scales.

Within this framework, the relative orientation and directional tendencies of components inside a sonic mass are explored. These tendencies give rise to a gravitational potential that emphasises interaction between particular sonic materials and forces. The work exploits its capacity for integration and material merging in order to form a singular, unified composite through the fusion of heterogeneous sonic elements. The transformation of materials shapes both the formal trajectory and the structural scaffold of the piece, producing an expression that recalls the layered organisation and metamorphic qualities characteristic of geological formations, while remaining rooted in the autonomous logic of sound.