The current music scene is manifold in its means of expression. As music becomes more diverse and embraces other art forms it makes room for a new type of performers to flourish. My academic path, comprising jazz theory lessons and an uncomplete bachelor’s in composition beyond my classical piano studies, gave me the opportunity to develop a set of artistic skills that go beyond the standard performer curriculum. I saw in this artistic research the perfect chance to apply this knowledge.
In my work I explore three distinct approaches to a specific piece of music: Constança Capdeville’s Avec Picasso, ce matin… (1984), starting from a more traditional analysis and progressively diverging from this path towards a subversive approach inspired by the concept of anamorphosis. Capdeville’s score is essentially an open work with a set of guiding instructions. However, the lack of documentation, clear instructions and reliable sources concerning the piece made the notated score more ambiguous than expected. This possible setback in its reconstruction turned out to be the perfect context to put my expertise to the test. While dabbling with Capedeville’s score I resorted to experimental processes, to my experience with composition, my transcription and editing skills, archive work and the use of different media in contemporary performance practice.
I approached the score as a “script” rather than a “text” (Cook, Nicholas). In this research the score is no longer an end in itself, but rather an excuse towards the development of a musical project larger than it.