Metamorphoses of Invention
François Decarsin · Perspectives of New Music · 1998
ow CAN WE bring together the successive orientations, the forays carried out, starting from strict serialism's writing-down of every detail, up to the almost complete revocation of this in the experiments with intuitive music, then to its reinvestiture, adapted to today's new requirements? What common features can be a matter for thinking, at the same time, about the most complex electronic material and about the most elementary (in appearance) melody? These questions most often remain evaded, allowing there to become established, in a more or less explicit manner, a quasi-challenging of creative continuity, or even an indifference, sometimes mingled with polite skepticism when faced with the latest works (the separate pieces which make up the various days of the grand opera Licht). What's more, the threshold of the alleged sudden break is not the same, depending on