Fabrizio Cassol: “The matter of musical form in our Medinea sessions must reveal the real collective intention.  It is revealed after several stages of creation, which are the materialization of the first ideas and the experimentation of their potential variations. A series of small forms are thus formed, still in their raw state, to finally be confronted with the large form that will give the concert its identity.

To speak of ‘dramaturgy’ in musical situations outside of opera or theatre is still surprising today, yet it seems essential to approach this notion in the spheres of orality.

Isn’t the act of composing above all to create an emotional architecture? An arc that encompasses the “word” of each other in a coherent whole. The essence of music has often been to carry the history of peoples, and our young musicians are called upon to invent their own, like an epic that is renewed each time.

The dramaturgical intention focuses all their ideas towards a poetic achievement and, in its wake, puts the multitude of expressions in their rightful place in a balanced way.  Like a new consciousness, it awakens and then, by nourishing it, becomes a real intuition.

The simple fact of evoking it can open the field of possibilities, but considering it fully deploys their capacity to create in the confidence that a simple idea can become essential to the great flow of emotions.

The Festival d’Aix is the ideal place to tackle these notions. The whole city vibrates with this awareness, which is essential to the success of each creation. It is essential to share this necessity with our young friends from the four corners of the Mediterranean.”

Dramaturgy can be defined as the art of constructing a story and imagining its developments. It is most commonly associated with theatre, film and opera.

In the reality of the collective composition process of our Medinea sessions, the concept of dramaturgy can also be applied to rhythm and its variations, since most Mediterranean languages are rooted in rich and diverse rhythmic memories. Like a backbone, rhythm allows the emotional architecture to be enlivened in the service of the entire narrative.

The specificity of this module is to encompass these two visions: the art of telling a story, or some of its fragments, and the art of making rhythmic constructions evolve with systems of tension, suspension and resolution as common points of support.

As the mentor of the Medinea sessions, I suggested that the musicians take inspiration from the myth of Penelope in a free and poetic way. They were able to give free rein to their imagination based on three creative axes:

• Penelope’s immobility, which, through her powerlessness opens the dream to the imagination of an attractive elsewhere made of movement, travel, and freedom often tinged with flight.

• Her legendary “doing and undoing” symbolises a struggle to create, in environments marked by stagnation and indifference.

• The metaphor of weaving from right to left and left to right, the fusion of the languages of writing, the urgency of the crossbreeding of orality.

These three aspects could have all sorts of resonances with their recent and distant experiences.

The experience of confinement was also explored as this module was shot during the first Medinea session since a long succession of cancelled cultural events.

On the rhythmic side, I proposed to Stéphane Galland to infuse with his science and genius, the keys that allow the different rhythms to leave their centre of gravity, to rise following at least three stages of variations: A rhythmic trinity as a moving base to support the intensity of the stories and dramas, through the medium of vocal or instrumental flights of fancy.

Fabrizio Cassol