Ledoux’s pieces show his attraction for refined harmonic phenomenons. In the 1980’s, this called for many conceptual approaches. But in the 90’s, he progressively left his compositional current for an approach calling on musical synthesis, relying on a clear writing strategy.
This tries to focus the listener’s perception towards unknown path of Western listening. The fascination exercised by the phenomenon of sound has incited the composer to a certain acoustical introspection, helped by recent technology, computer programmes, acoustical analysis and sound synthesis. Without wishing to claim to be a membre of the ‘spectral’ school, his music shows facets of a certain sensuality based on the interactions between harmony and sounds. His interest in Eastern music has led him to reflect on instrumental ornementation as practised in the East, as well as on the physical movement relationship between the performer and his (her) instrument.
Taken in this way, the musical work of Claude Ledoux synthesises these different elements in a luxuriant microtonal environment, with a desire to renew the phenomenon of melody without condescension, the expression of a solo instrument or an orchestra where emotion comes from the meeting of different imaginary cultures.
