vector of slaves, the slave traffic of the 17th and 18th centuries, who, revolting

against the treatment to which they were subjected, proudly cared about
preserving their origins, their roots, the traces of what was their original training.
This means that in Cuba there is a cocktail of African rhythms of prodigious
richness... To all that is added the refinement of the percussion, instruments next
to which, Europe precisely, up until a fairly recent period, was a barbarian
country. Percussion, which was called drums, was something you beat on without
really knowing why: the back-up rank and file of the great orchestral tutti....
Whereas over there, it is a codified language, quite often a secret language since
these were oppressed peoples who had to communicate amongst themselves; it
goes from the simple tam-tam used for communication up to secret ceremonies,
rituals...
‘So, that’s where I started from, without limitation—what guides is the music—,
and that resulted in Avoaha, a sort of liturgy that I had fun organising as I chose.
Along the way, something interesting happened to me: completely by chance, I
came upon a text by Seneca, the Cordoban philosopher who lived in the 1st
century. As the Olympic Games had asked me if it were possible to make a slight
allusion to this year ‘92, I came across this text in Latin, announcing the
discovery of the New World in the 1st century. And it is Seneca who announces
it. I jumped on the occasion because I very much like Latin, which is a very
exciting language from the musical point of view.’

V. STAGE MUSIC

Choreographic works

PROMÉTHÉE (no. 36) Playing time: approx. 30’

Ballet on an idea by Pierre Rhallys
" Forces: orchestra 2.2.1.1, 2.2.1.0, percussion (3 performers), piano, strings
6.6.4.4.2
Percussion instruments:
I: timpani, low tom, xylophone, drum, tambourine, guiro, woodblock, triangle,
maracas, military drum
II: tam-tam, low tom, high Chinese cymbal, glockenspiel, high tom, anvil, small
and large cymbals
III: bass drum, snareless drum, glockenspiel, tom, Chinese cymbal, celesta,
military drum, tambourine, xylophone, side drum
! Publisher: Billaudot, 1968.
‘I had a fascinating collaboration with Maurice Béjart. We did three ballets
together; the first was Les représentations de Tanit for which I had written a
large orchestral score; the choreography evoked the myth of the Carthaginian
goddess. Then we did Prométhée, often given again in Brussels. It was a period
of permanent innovation, of which Béjart was the prince. Subsequently, our paths
diverged, but I remain marked by those experiences.’

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