Épitaphe Pour la Tombe de Deleuze (2016)
Dedicated to Oliver Toni
First Performance: November, 12. 2016. T. Earl Hinton Music Hall - Middle Tennessee State University.
MTSU Chamber Orchestra, Carol Nies: Director.
Gilles Deleuze, the brilliant French thinker of the 20th century whose philosophy was mainly concerned with metaphysics and epistemology, dedicated a significant part of his work to discuss music. His developments over concepts such time, difference, and repetition provided new approaches for the analysis of Western music from Beethoven to Boulez. Self-characterized as a pure-metaphysician, Deleuze developed his work according to contemporary mathematics and science. He rejected the idea that life and creation are opposed to death and non-creation. He instead conceived the plane of immanence in which life and death are both equally contained. This plane of unqualified immersion or “embeddedness”, opposes the idea of transcendence as a real distinction, Cartesian or otherwise. Pure immanence is thus often referred to as a pure plane, an infinite field or smooth space without substantial or constitutive division.
Épitaphe Pour La Toumbe de Deleuze is conceived on the antithesis of immanence: transcendence. In fact, the piece has little to do with the French philosopher himself. Instead, it goes deeper into the essence of the human being, displaying the mental deconstruction of philosophical humanism in face of one’s fear of imminent death. The piece, which is structured as a tone poem, depicts the final breaths of an individual who denies a life of skepticism and desperately pursues transcending redemption.