REMEMBERING BOWIE: Processes and semantics of reinterpretation in Hyperprisme’s Requiem.
Composer of concert and mediatic music as well as professor at Concordia University, Georges Dimitrov also produces electronic alternative music under the name Hyperprisme. His first album, Requiem, was published in May 2017. In this talk, he will discuss the genesis of the project, some specific compositional approaches, and the intertexual semantic issues arising from the work.
Description of the requiem, from Hyperprisme's website:
Requiem is a work dedicated to the memory of David Bowie.
The text is the integral one of the mass of the dead, sung in Latin. The work, however, is not liturgical: these poems, and the deep and universal emotions they evoke, possess their own strength, their own symbolism, which does not need religion to be experienced. Each of the fourteen movements is inspired by one or more songs by Bowie, whose rhythmic, harmonic or melodic characteristics are transformed and reused. The link is always subtle - no obvious quotations are given - but Bowie's soul is inscribed throughout the DNA of the work.
If this Requiem is deliberately stylistically heterogeneous, it is because it reflects the career of the man-chameleon. The sound of the symphonic orchestra blends with rock instruments and synthesizers, while the writing is inspired as much by the great contemporary music composers of the twentieth century as by the legends of post-punk. But through the opposition between shadow and light, between life and death, the work finds its own unity.