L’amour est la drogue : for chamber orchestra and DJ
by Andrián Pertout (2016)
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Library shelf no. 784.3/PER 2 [Available for loan]
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L'amour est la drogue or
'Love is the Drug' was commissioned by Mario Dobernig and the Art
of Sound Orchestra (Australia) as part of the 'Thick as Thieves:
A Collaboration with EDM Superstar DJs Nick Coleman (AUS), T-REK
(AUS) and Phil Kieran (NIR)' project at iconic Melbourne
nightclub Revolver Upstairs. The title L'amour est la
drogue has been derived from the song Love is
the Drug by English rock band Roxy Music, which was released
on their fifth studio album Siren (1975), and
later covered by Jamaican singer, songwriter, lyricist,
supermodel, record producer and actress Grace Jones on Warm Leatherette (1980).
The work serves as an exploration of the musical implications of combinatoriality as an organizational determinant, and within its rhythmic structure exclusively utilizes 'de Bruijn' rhythms - named after Dutch mathematician Nicolaas Covert de Bruijn (1918-2012), and eloquently described in the publication of Creating Rhythms (2014) by Stefan Hollos and J. Richard Hollos. The work incorporates the 16 unique B(4) de Bruijn sequences of order 4, as well as a 'tape' element (intended for performances without DJ), which includes a set of six samples derived from the Uberjakd (aka Ben John Grzywacz) Remix (2013) of Nick Coleman's Faces of Meth (2008) - reputed as "one of the biggest club tracks to come out of Melbourne." The pitch material may be defined as Masaya Yamaguchi's 6-note derivative scale 305c (C D#, E, F#, A and Bb), a derivative (or a mode) of 6-30Sa (C Db, Eb, F#, G and A with the vector 224223) from The Complete Thesaurus of Musical Scales (2006). This scale is essentially an 'octatonic minor' scale omitting tones 2 and 6, or the minor second and perfect fifth intervals of this 'eight-tone symmetrical' scale. The indeterminate performance structure has been inspired by the open-form (or mobile) works of American composer Earle Brown, and in particular Novara for flute, bass clarinet, trumpet, pianoforte, 2 violins, viola and violoncello (1962) where the conductor is essentially given total freedom to "conduct the events in any sequence or juxtaposition, in changing tempi, loudness and, in general, mould and form the piece."
Instrumentation: Flute, oboe, B flat clarinet, horn, B flat trumpet, tenor trombone, strings, tape – (CD player or computer).
Duration: 6 min.
Difficulty: Advanced — Professional
Commission note: Commissioned by Mario Dobernig and the Art of Sound Orchestra (Australia)
The composer notes the following styles, genres, influences, etc. associated with this work:
Earle Brown (1926-2002). Nick Coleman’s Faces of Meth (2008) ; Uberjakd (aka Ben John Grzywacz) ; Combinatoriality Nicolaas Covert de Bruijn (1918-2012) 16 unique B(4) de Bruijn sequences of order 4 Creating Rhythms (2014) by Stefan Hollos and J. Richard Hollos ; Masaya Yamaguchi’s The Complete Thesaurus of Musical Scales (2006)
Composer's no. 437.
Performances of this work
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