CHRYSOPHONIE

This piece explores listening as a living act, in constant evolution. It draws on the ecological thinking of Bernie Krause, who distinguishes three components of the soundscape: geophony (the sounds of the Earth), biophony (the sounds of non-human living organisms), and anthrophony (the sounds generated by human activity).

The music begins in a structured space centered on the human: frontal choir, harmony, synchrony. This opening acts as a chrysalis, a closed form that already contains the possibility of its transformation. As the piece unfolds, this structure fragments: language decomposes, rhythmic unison dissolves, and the space gradually opens to allow individual voices to emerge.

The poems, centered on butterflies and bees, become structural, phonetic, rhythmic, and formal material. They accompany the transformation of the music, from notation toward improvisation, from individual expression toward a sound ecology.

In a healthy ecosystem, each species finds its own acoustic niche so as not to mask the others. This principle lies at the heart of the piece: each voice finds its place in relation to the others, as in a biophony, where individual presence depends on collective listening.