After his orchestration of the « Sonate » by Ravel, warmly welcomed in Lyon, Yan Maresz is ready for a new revolution with the harp playing. In his concerto, Répliques, he worked on the amplification and the electronics added to this instrument. A game on the double, also served by the orchestra. The composer comes back on the technics he used. The harp as you never heard it!

The notions of seismological aftershocks, theatrical dialogues and even simply “copying” are all contained within the French word “réplique”; this composition for amplified harp and orchestra also contains these same notions, in musical form, and on many different levels. On a larger scale, both the concept of continuum and of functional complementarity appear; there is a seemingly ongoing, undulating relationship between the solo and orchestral points of articulation, found between two poles that make it a “concerto”, but only through the traditional spatial arrangement that makes reference to this genre. The electronics, played exclusively through the harp, both enhance and confuse the live playing in a complex way. It is also partly through the writing of this “interior” electronic part that the instrumental virtuosity is expressed. (22 May 2016)