Dracula

Dracula, ou la musique troue le ciel (2002)
An adaptation of Pierre Henry's (1927-2017) work for amplified orchestra and loudspeaker orchestra, by Othman Louati and Augustin Muller.
Premiere on 1 June 2017 at the Athénée Théâtre Louis-Jouvet, Paris
Dracula, a monumental fresco in eight episodes, blending excerpts from Wagner opera recordings and electronic music, is conceived as a ‘film without images’.
In its original version, the fusion is achieved both through the musical material and through the medium: in both cases, the music is played through loudspeakers. Their mode of appearance is conditioned by the same gesture of the performer at the broadcast console. Le Balcon offers here a version with an instrumental and electronic ensemble.
Radical in his thirst for sounds and music, Pierre Henry was a pioneer of electronic music but also of the delicious bite of works, paving the way for the popularisation of sampling, remixing and extended mixing.
In Dracula ou la musique troue le ciel, he transforms Wagner's Ring Cycle into a ‘film without images’, full of sighs and fires, fury and voluptuousness. With this project, a new aspect of spatialisation is explored through the work of Pierre Henry.
Team for the film (2017)
Musical direction Maxime Pascal
Sound projection Florent Derex
Electronic broadcasting Augustin Muller
Flutes Charlotte Bletton, Julie Brunet-Jailly
Clarinets Alice Caubit, Ghislain Roffat
Horns Edouard Guittet, Alexandre Fauroux
Trumpets Henri Deléger, Matthias Champon, Florian Varmenot
Trombones Mathieu Adam, Maxime Delattre
Bass trombone Vincent Radix
Bass tuba Emilien Courait
Contrabass tuba Maxime Morel
Piano Alain Muller
Timpani Adrian Salloum
Percussion François-Xavier Plancqueel
Double bass Héloïse Dely
A film by David Daurier, produced by Gingerlemon, Le Balcon, Son/Ré
Filmed at the Athénée Théâtre Louis-Jouvet on 3 June 2017
Director of photography Sylvain Séchet
Sound engineer Baptiste Chouquet
Editing Naïla Nkhili
with the support of Adami, La Caisse des Dépôts, Areitec, the Singer-Polignac Foundation, assistance from the Cerni programme of the Ministry of Culture and Communication, and SACEM.