Writing music for a play is quite particular. What was your approach for Queen Jocasta?

I was in Greece for a concert. I didn't start composing there, but I gathered sounds for the show. I worked with amazing Greek actors who have, ingrained in their collective memory, the Thebans who fell victim to the plague thousands of years ago. I came back to Paris with incredible recordings of groans and cries which I would use throughout the show.
I realised I had to position myself, not according to the text but Jocasta's state of mind. That was the angle I used to get the musical substance I needed. For the labyrinth scene, for example, I did two versions and finally opted for the more violent one. I wanted the musical labyrinth I created to induce fear, an unsettling moment because, just before this scene, Jocasta realises the blood tie that binds her to Oedipus. What is she to do? She starts wandering.

Why did you choose a quartet for strings?

Strings were the only choice from the outset as they represent, together with wind, the very first musical instruments. But wind didn't suit Nancy Huston's text which centres on womanhood. The challenge was to find a sound both intimate but with the ability to go beyond intimacy; I think that strings embody this. Piano wouldn't have worked as it is too precise and there are also many moments where I am working in quarter tones. And that is closely linked to the text.

How would you classify the musical style?

It's very difficult to say. It was like groping around in the dark and I now realise that, for six weeks, I was totally concentrated on how to be 3000 years ago and today at the same time with just three string instruments, drums and a voice. There is not one single standard chord but there are gaps between sounds which suggest harmony.

The singing is very present. Did you have the actress in mind when you composed?

It was tailor-made, difficult though that was. What I care about most regarding the singing is that, fundamentally, Jocasta sings even when she talks. If the actress is in the rhythm and if she listens closely to her musical partner, she will find a common ground known as euphony. And if the rhythm is there, it all makes sense and I am happy.

Septembre 2009