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THE PRISONER
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In The Prisoner, the staging conception is the true root and the basis that leads the musical writing : each one of the 5 stands has its own individuality, which is reflected in the flute playing, and lock the flutist in a sort of imaginary prison. The music follows the wandering mind of the character facing his own thoughts in different situations, interacting with the run of events.
The electronic part is also conceived as a visible layer. The sound assistant is an active performer on stage, monitoring the prisoner, with either a little compassion or a little cruelty. |
Dans The Prisoner, la conception scénique est la racine et la base de l'écriture musicale : chacune des 5 positions/pupitres possède sa propre individualité, qui transparaîtra dans le jeu de la flute, tout en enfermant le flutiste dans une sorte de prison imaginaire. L'écriture musicale suit l'esprit instable du musicien, en face de ses propres peurs et pensées dans différentes situations, et interagissant avec les évènements extérieurs.
La partie Electronique est conçue pour être visible. Sur scène, l'assistant est un acteur de la pièce, surveillant le prisonnier, avec un peu de compassion, ou de cruauté. |
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DOWNLOAD : score excerpt, stage plan, requirements
The two last pages of this document are the actual score for performance (here for stand 1) |
The Prisoner is dedicated to Oscar Catalan, who commissioned it.
The prisoner have been performed by Oscar Catalan in its final version in ZKM Karlsruhe (Next Generation Festival 6.0) in June 2015, and in Mozarteum University (Portrait concert - Masterabschluss Matthias Leboucher) in October 2016. A first concert version was performed on the 29th of june 2014 as a concert version, by Marina Iglesias Gonzalo, in Mozarteum University, Salzburg. | ||
