Written, fixed music sometimes leaves room for improvisation. Whether in jazz, with its proposed themes and then the free fields offered to instrumentalists, or in contemporary music, where open works outlined unconstrained sections in which musicians could free themselves from the written score. In "Black Museum," improvisation was the source of the written work, of the composition. Composer Bruno Letort, accustomed to crossing genres, having penned numerous contemporary works for orchestra, ensemble, or soloist (Orchestre National de France, Orchestre Philharmonique de Radio France, Noël Akchoté, Richard Galliano, André Ceccarelli, Tana Quartet, Trio d’Argent…), while also orchestrating "Multitude," Stromae's latest album (Victoire de la musique 2023), invited the crème de la crème of improvisation, particularly American, to attempt this unique experiment: making improvisation the cornerstone of a composition for a large instrumental ensemble. The rule is simple: improvise to a metronome, with no other constraints, neither rhythmic nor harmonic; simply the freedom to play. Enthusiastic after reading about the project and hearing the first recorded elements, Laurie Anderson, David Krakauer, Evan Ziporyn, David Torn, Mike Ladd, Régïs Boulard, David Linx, among others, agreed to embark on this astonishing and subtle marriage of the written and the free form. "Black Museum" explores the most unexpected sounds of orchestral playing modes and the most surprising harmonic and rhythmic constructions.
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