Guillaume Connesson: ‘I used a 12tone-row to create an icy atmosphere’

Guillaume Connesson attending rehearsal of Les cités de Lovecraft with Netherlands Philharmonic Orchestra, 11 October 2017

The French composer Guillaume Connesson (1970) writes colourful music that speaks directly to the heart. Like many of his peers he is not preoccupied with innovation per se, but seeks inspiration in the entire treasure trove of musical history. In his wonderfully orchestrated works you can hear echoes of such different composers as Richard Strauss, Dmitri Shostakovich, Steve Reich, Henri Dutilleux and Witold Lutosławski.

This season Connesson is composer in residence with the Netherlands Philharmonic Orchestra, for which he composed two new works: Les cités de Lovecraft and Liturgies de Lumière. The Royal Concertgebouw joins in with a commission for a piece to be performed in a concert on the theme of War and Peace. On 12 April it will present the world première of Eiréné in the Amsterdam Concertgebouw under the baton of chief conductor Daniele Gatti.

Connesson named Eiréné after the ancient Greek goddess of peace. ‘I wanted this to be a study of silence and pianissimi’, the composer says. ‘It’s a universe of light touches, rustlings and fragile crystal that unfolds throughout this Poème nocturne for orchestra.’ He deems it a beautiful coincidence that it will witness its first performance in April: ‘Eiréné was also associated with spring, the traditional season of the war in antiquity.’

H.P. Lovecraft: lush use of adjectives

In October 2017 I interviewed Connesson on the occasion of the world première of Les cités de Lovecraft in the AVROTROSVrijdagconcert, which was broadcast live on Radio 4. The three movement work was inspired by the novella The Dream-Quest of the Unknown Kadath (1927) of the American fantasy writer H.P. Lovecraft. This explores the world of dreams. ‘It’s pure psycho-therapy’, says Connesson.

The work of the American author has always fascinated him because of its lush use of a diversity of adjectives, which he translated into a teeming orchestral fabric. The ambiguity of the character of the ‘narrator’ is caught in quarter tones; the sombreness of the city of Kadath is symbolized by a 12tone-row.

In truly European spirit I posed my questions in English, and Connesson answered in French.

 

 

About theaderks

Thea Derks is a Dutch music journalist, who studied musicology at Amsterdam University. She' specialized in contemporary music and always has an eye open for women composers. In 2014 she wrote the biography of Reinbert de Leeuw and in 2018 she published 'Een os op het dak: moderne muziek na 1900 in vogelvlucht'.
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