Aurorae pentru cvintet de suflatori Op. 82

So each soloist brings a colour of dawn through his sound and instrumental technique. First the horn and then, in the row, flute, clarinet, oboe and bassoon show different angles and affects of their sound.

Now about the sound-worlds: in Fanfara there are two worlds: a visceral primeval world conceived as a Dionisian dance and a pastoral world, calmer but still threatening enough (the horn). Flammes develops a chorale melody and harmony as a stable ground, as a natural appearance, and in addition brings a lively and spiritual restlessness, mainly in flute. A hymnal ethos is found in Abeilles et Te lucis: a Byzantine melody as the framework of a cluster and modal technique and a Gregorian chant (Te lucis ante terminum) produced by clarinet timbre and aksak rhythm alternate like two Janus-headed facets.

The daybreak as dawn full of sacred experiences is revealed by Pieta: a ray of sunlight wakes up the Mother of God, microtones on oboe support the incantatory impression. Totentanz could be defined as a negative hymn. Here we hear the dawn of the infernal: macabre gestures and infernal contexts chromaticize a diatonic light melody.