Billaudot Zavaro Pascal - Les Empires De La Lune
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Essential Information About This Score
Essential Information About This Score
- A contemporary work in five movements played without interruption, conceived as a true sonic dramaturgy.
- An original stage setup for two groups of musicians without instruments, with a conductor positioned at the center, back to the audience.
- A precise exploration of vocal, percussive, and gestural techniques (without singing), based on the intonation of spoken language, sound effects, and stage presence.
- A demanding collective work on "full" and homogeneous sounds, where even silences must remain inhabited and focused.
Manufacturer Information
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Summary of This Score
This original contemporary work offers an experience of "music without instruments" structured in five movements: Toucher (Touch), Goûter (Taste), Regarder (Look), Humer (Smell), and Écouter (Listen). The conductor, placed among the performers and with their back to the audience, acts both as an arbiter and officiant, organizing the collective energy and precision of interventions. The movements flow without interruption, reinforcing the sense of stage ritual and continuity of listening.
The score does not require "singing" in the traditional sense: the staves and signs rather describe relative intonations of spoken language, vocal playing techniques (mouth noises, breaths), percussive impacts, and gestural actions. The sonic objective is clearly stated: all emitted sounds must remain full and homogeneous, which implies both individual and collective preparation, in terms of technique as well as concentration. Silences are never neutral: they must be inhabited by attentive presence, like a suspended tension "towards the Moon."
Each movement imposes a specific color. In Toucher, the performer strikes their own body at indicated points, building a structured body percussion. Goûter emphasizes mouth, tongue, and swallowing noises, with onomatopoeias to be interpreted as genuine sound materials. Regarder is mostly silent: musicians perform like mimes or silent film actors, with deliberately exaggerated gestures and attitudes. Humer highlights breathing noises, breaths, and airy sonorities, while Écouter creates a stage unease directed towards the flies (stage rigging), and also functions as a "potpourri" recapitulating previous playing techniques. Commissioned by the Conservatoire Maurice Ravel (Paris), this score is particularly aimed at ensembles, conservatories, and creative workshops wishing to work on rhythmic precision, fine listening, and the theatricality of sound.
Technical specifications
| Musical Genre | Classical | Publication | Sheet music |
| Instrumentation | two groups of musicians without instruments (with conductor at the center) | Language | French |
| Genre | contemporary score / stage work | ||
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Questions frequently asked
What instrumentation is required for Les Empires De La Lune by Pascal Zavaro?
The work is written for two groups of musicians without instruments, with a conductor placed in the center. The conductor leads with their back to the audience and organizes the collective interventions.
Does Les Empires De La Lune use traditional singing?
The notation does not call for singing in the traditional sense. The staves indicate intonations of spoken language, breaths, mouth noises, and percussive impacts.
What are the five movements of this score?
The five movements are titled Toucher, Goûter, Regarder, Humer, and Écouter. They follow each other without interruption.
How is the movement Regarder performed?
In Regarder, the playing is mostly silent. Performers use exaggerated gestures and postures, in an approach similar to mime or silent film. The stage presence directly contributes to the writing of the movement.
Is this work suitable for a creation workshop in a conservatory?
The score, commissioned by the Maurice Ravel Conservatory of Paris, is particularly intended for ensembles and conservatories. The work focuses on rhythmic precision, collective listening, and the theatricality of sound.
