Hamilton defined Pop Art in 1957 as popular, ephemeral, disposable, cheap, mass-produced, spiritual, sexy, clever, glamorous, and profitable. This definition – obviously ironic – does not correspond exactly, but in part all the same, to the spirit of this new work – the listener should guess the reasons for it…
Composed at the request of Laurent Cuniot for the Ensemble TM +, my Pop-Art tries to install an implacable pulsation that different elements come in turn to upset and disturb, at the risk of sometimes endangering it: one of the aspects of my music that I intend to favour. The modes of play are more developed than usual: sometimes we caress the instrument, sometimes we tap it, sometimes we “play” with it, we kiss it furtively (only the flute and the clarinet all the same). And the underlying elaboration of the work, in itself the most serious and rigorous, is totally obscured by these different theatrical aspects.
Pop-art since its creation in 2002 is one of my most replayed works, in about twenty countries (Europe, Eastern Europe, United States, Canada, Israel, etc.) and by many contemporary music ensembles.