Every summer, the castles of Valère and Tourbillon lend themselves to the game of sound and light. Illuminated in blue, red and green, these emblems of the city of Sion are revealed to the rhythm of the music. This year's show is the same as last year's, based on Feodalia, a symphony composed by Valais-born Thierry Epiney. He was inspired by the canton's history. Interview.
Le Regard Libre: To be a composer of symphonies (in particular) at your age, do you have to have grown up in a musical environment?
Thierry Epiney: It's difficult to talk about cases other than my own. It must be easier to have been immersed in music as a child, but I can also imagine that there are some great people who are totally self-taught. Whatever the case, you have to be passionate.
Do you feel that the music schools you attended, Geneva and Zurich, offer a good level of training? Generally speaking, is Switzerland rated highly in terms of musical training?
I've been very happy with the training I've received. My first master's degree in Geneva, with a focus on concertante composition, enabled me to deepen my knowledge of orchestration and theory in general. The second, a master's degree in film, theater and media composition, at the Zurich University of the Arts, was a revelation. I've enjoyed film music since I was very young. I listen to a lot of it, and find it hard to watch a film without giving the music a concentrated ear. The «papers» we acquire are one thing, but we're constantly learning in this profession. Every project is different, bringing new perspectives, new ways of working, new colors.
Let's move on to Feodalia. Was this piece composed especially for the «Sion en lumières» show, or was it a project in itself?
Seventeen candidates took part in the competition. On the basis of a dossier, followed by an interview with models, the jury made its choice. It's a piece that exists only by and for «Sion en lumières».
Your feudal symphony blends symphonic orchestra and medieval instrumentarium. Has this configuration ever existed before in the history of music?
I'm very interested in mixing styles. For example, I really appreciate the work of Bear McCreary, a film composer, for his choice of orchestration. It's nothing new to mix instruments and go off the beaten track of the symphony orchestra. I wanted to give the piece a medieval and modern feel. Rather than choosing a lute and a recorder, which in my opinion would have sounded too cliché, I chose to integrate a cymbalum, a harpsichord, a viola da gamba and the Valère organ (the oldest organ still in use in Europe) into the orchestra. The piece is composed of ten tableaux, retracing the history of Sion and the surrounding area. Each has its own color. In fact, I used different composition techniques to create a varied and distinctive fabric for each one.
How much working time does a composition like this represent?
I'd say three to four months.
Did you have any say in the lighting work? Are you satisfied with the result?
I suggested shades to Rodrigue for each piece. Nothing more, as I didn't want to restrict his creativity. It turned out to be the right solution, as the lighting follows the music perfectly and immerses the viewer in a whole new experience.
You founded Thierry Epiney Music in 2014. In your opinion, is it better as an independent musician to found your own structure than to go through existing organizations?
In my opinion, all you need to do is find your niche and manage to build up a large enough circle of contacts to keep finding work. All this, of course, by getting fully involved in each project and trying to go further than the mandate requires.
When you produce a lot of music in a variety of styles, is it easy to break through? What advice would you give to beginners?
It's never easy, and above all, never permanent. I'm lucky to be able to write quickly and to be well surrounded. However, nothing can be taken for granted. A very good mandate doesn't necessarily lead to other mandates, although that also happens regularly. I'd say you should always try to do your best, or even better. Give yourself to 200%. And have a bit of luck.
Philosopher by training and journalist by profession, Jonas Follonier is the editor-in-chief of Regard Libre. Write to the author: jonas.follonier@leregardlibre.com.
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