Cinematic Soundscapes

For over fifteen years, Ken Mauron has refused the status quo. Trained in classical piano from childhood, he embarked on a long, self-directed exploration of the ancestral instruments of the Orient and Asia — the Armenian duduk with its nasal, aching voice, the Persian setar and santoor for their meditative resonance, the Japanese shakuhachi and its inhabited breath, the swarmandal-tanpura and yangqin for their drones and crystalline textures — before adding expressive synthesizers, including the Osmose Expressive, capable of an almost vocal articulation of synthesized sound. Out of this quest came a hybrid language, free of stylistic borders, where every new work searches for a sonic territory not yet explored.

"I compose essentially from a space of dreams, magic and intense emotion. I want to take the audience on a deep journey through sound, instruments and inner landscapes. In two words: to feel the sound."— Ken Mauron

Cinematic Soundscapes brings this research together into an immersive live show, developed in close collaboration with an artistic director. The sonic composition is carried by strong staging and visual direction — costume, lighting, spatial design — building a total experience rather than a simple concert. Audiences are drawn into a rare state of listening, somewhere between contemplation, gentle trance and wonder: each piece becomes a tableau, each silence a breath, each instrument a character within the same sonic story.

The show unfolds as a journey in several movements: meditative openings carried by drone instruments, cinematic orchestral builds fed by piano and synthesizers, culminating in rhythmic climaxes driven by world percussion — a dramaturgy built to be experienced collectively, closer to a grand contemporary ritual than to a conventional recital.

This project is built with international reach in mind: cinematic instrumental music, carried by rare instruments and an immersive stage experience, today finds its place both in world music festivals and on neoclassical stages, and, in time, in the large amphitheaters that already programme this kind of repertoire — the same artistic lineage as the great film scores now touring the world's stages.