Enigma for Two Instruments and String Orchestra [conductor’s score]

Originally composed in 2001 for two instruments and piano (or harp), Enigma was reimagined in 2022 in a new version for two solo instruments and string orchestra. Each solo part has been entirely recomposed to suit the specific technical, timbral, and expressive capacities of the chosen instruments.

This approach allows for a wide variety of instrumental pairings: from relatively traditional (e.g. violin, viola and strings) to less common (e.g. clarinet, cello and strings; flute, viola and strings; violin, horn and strings) or even highly original combinations (e.g. soprano saxophone, basset horn and strings; oboe, euphonium and strings; vibraphone, bass clarinet and strings). The ensemble writing supports and interacts with the soloists in ways that highlight this flexibility.

The first movement centres on a clearly recognisable thematic idea, not developed in the classical sense but passed fluidly between the soloists, supported by various secondary motifs. The second movement is based on the principle of a passacaglia, with a five-note ostinato in the lower strings forming the basis for two superimposed themes. Eventually, one theme is absorbed by the other, and the movement ends abruptly, with the surviving motif restated by the ensemble over the ostinato bass.

The third movement is rhythmic and driving — conceived as a race to the depths. It builds inexorably towards a final, concentrated resolution, propelled by layered textures and pulsating momentum.

The title Enigma reflects the enigmatic character of each movement, each built on minimal material developed to its expressive limits. It also pays homage to Alan Turing (1912–1954), the British mathematician whose groundbreaking work in cryptanalysis led to the deciphering of the Nazi Enigma code during the Second World War, significantly shortening the duration of the conflict. In 1952, Turing was prosecuted for his homosexuality and sentenced to chemical castration following a highly publicised trial.

The orchestral version received its world premiere at the Festival de Lasne in 2022 (Belgium), performed by Ronald Van Spaendonck (clarinet), Philippe Cormann (double bass), the Orchestre Royal de Chambre de Wallonie, conducted by Ektoras Tartanis.

A version for clarinet, bass clarinet and piano has been recorded by Ronald Van Spaendonck, Jean‑Marc Fessard, and Éliane Reyes (Dux label, DUX 0531).