At a time where repertoire from different ages and places is readily accessible, the perception of heritage and tradition has been deeply transformed. Aesthetic choices and orientations are strongly related to themes such as the relationship with the past, cultural heritage, and narratives related to both collective and individual memory.
His work as a composer is a central and substantial tool for his investigation. He looks at the practice of transcribing as a form of listening, and more precisely, as creating a new relation to an existing musical work; a relation that establishes itself in a composer’s musical imagination: the other work is transformed; it is reimagined, reinvented, rewritten.
This practice implies an ever-threatening risk of betraying the originals, contaminating and being contaminated by them: it could then serve to take them out of what Lydia Goehr calls “the imaginary museum of musical works” returning them to a new dimension of use.
Marcel Cobussen (1st promotor)