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In a context as complex as the world of composition at the beginning of the twenty-first century, the choice of the term "syntheses" to serve as the title of a book that brings together writings spanning more than a quarter of a century may seem a bit vain. After the stylistic and aesthetic explosion of the end of the twentieth century, it could even be considered absurd or pretentious. Moreover, this term includes a certain number of ramifications whose common points can be difficult to identify.
The word "synthesis" is however a synonym of the word "composition", if we stick to its etymology. Indeed, the Greek form from which it comes, Σύνθεσις, combines the roots σύν, "with" - the Latin cum - and θέσις, action of putting. Whatever the field, synthesis is the operation by which simple elements are brought together to form compounds. It designates more specifically, for musical acoustics, the making of sound. This term is present in chemistry as in logic, in mathematics as in philosophy. It takes meaning at the same time on matter, on space and on time.
By exploring aspects of his own compositional work, pursued in extremely diverse forms and circumstances, the author attempts to give an overview of the complexity of the issues facing a creator today, and to propose some avenues of reflection for the future.
