to Oriane and Anaïs
Since Loops I, was originally written for flute, there is a strong emphasis on limiting the electric guitar as if it was a monophonic instrument. To support this conception, a rich presentation of fingerings is supporting the score, turning the guitar into a limited instrument, capable of only having one possibility to produce a certain note. After a note gets its fingering, it is important to follow the fingering as long as possible or until a different fingering is suggested. It is of course possible to use different fingerings then suggested but it is important to follow this "monophonic instrument" conception which brings much clarity to the idea of processing that is so evident in the "Loops" composition series.
The dynamics should be performed with much care and with the thought of not using the volume pedal in a way that the dynamic changes sound unnatural.
It is recomended that in Movement II (bars 95-108) and Movement III (bars 110-112) the pp notes should be played dampened while the ff and accented notes should be played loud and open. As for the guitar sound, it should be quite distorted but not in a way that will cause the notes to sound blurry.
Loops I is an energetic piece and should be played in that manner and spirit.
Philippe Hurel, was born in 1955. French composer of mostly orchestral and chamber works that have been performed throughout Europe and elsewhere. Philippe Hurel studied musicology at the Université de Toulouse from 1974-79 and composition with Betsy Jolas and Ivo Malec at the Conservatoire National Supérieur de Musique de Paris [...]