CFP “Bande Originale”

This project is a musical composition created by André Aires and myself, conceived as the “sonic identity” of the Congrès Français de Psychiatrie (CFP). This project emerged from an invitation by Luc Mallet, general secretary of the CFP, who challenged us to imagine and compose an original musical identity for the CFP. To our knowledge, this initiative is highly singular, we are not aware of any other scientific congress that has developed its own coherent and articulated sonic identity.

From our very first discussions in 2022, the idea of a symphonic work quickly imposed itself. We wanted the music to embody the very DNA of the Congress, a space of encounter, dialogue, and convergence between different cultures, disciplines, theoretical frameworks, and clinical practices. The concept of the Agora as a public space dedicated to meeting, exchange, and collective reflection, became one of the guiding metaphors of the composition. Very naturally, and because psychiatry is fundamentally concerned with the care of the psyché, we decided to parallel this collective dimension with a more intimate narrative, the story of the development of a psyche itself. The piece thus follows a symbolic trajectory, tracing stages of formation, growth, rupture, crisis, healing, and integration, mirroring both individual psychic development and the broader human experience addressed by psychiatry.

A distributed creative process

Methodologically, the framework of this project was shaped by geographical realities. Luc lives in France, André in Portugal, and I live in Switzerland. This physical distance imposed specific working constraints and strongly influenced both our tools and our creative process. We had to define shared protocols that would allow compositional ideas to circulate fluidly despite distance, time differences, and technical limitations. Early on, the idea of a central symphonic work, a “Pièce Mère”, became evident. This foundational piece would serve as a narrative and musical anchor, from which multiple stylistic and functional variations could later be derived. The goal was to ensure coherence across all later adaptations while allowing flexibility of form and usage. The first sketches were developed at my home, starting from a simple, almost naïve piano melody, deliberately restrained in its material yet rich in symbolic intention, already carrying the dual ideas of Agora and Psyché. André’s compositional approach differs significantly from mine, he works primarily through notation, entering directly into written musical language. Reconciling the structural rigor (and occasional frustration) of notation with our shared, instinctive desire to hear ideas immediately through sound was one of the project’s central creative challenges. From this initial performed version, we gradually moved into full notation, which opened a much broader field of compositional possibilities, one that only written music can truly offer in terms of polyphony, long-form architecture, and fine-grained development. Beyond physical distance, we also had to overcome software and platform compatibility issues, the impossibility of performing the music ourselves as composers, and eventually the need to adapt the work from its original symphonic conception to a chamber-music format for quintet.

AGORA, a musical common ground

The choice of the pentatonic scale is both symbolic and fundamental. Across history and geography, the pentatonic scale functions as a kind of universal musical language. It is found in African, Asian, Native American, and Celtic European traditions, transcending cultural boundaries. It is also deeply embedded in children’s music, often emerging spontaneously in early vocal expression, long before formal musical education. From a musicological perspective, the absence of semitones leaves space between each note, avoiding melodic friction and allowing a sense of openness and fluidity. This sonic breathing room naturally fosters dialogue rather than conflict. In this sense, the pentatonic scale becomes a shared musical territory, a space of encounter, mutual recognition, and expression. A true musical agora.

PSYCHÉ, the narrative of inner development

To speak of psychiatry is, fundamentally, to speak of the psyche. The composition therefore traces the symbolic development of a psyche, from its earliest origins to maturity. Through evolving timbres, rhythms, textures, and harmonic language, the music evokes formation, expansion, crisis, and repair, offering a metaphorical representation of the inner stages of psychic life in search of identity, meaning, and equilibrium.

IN UTERO, attachment experience

In the opening section, the violin with its fragility, high register, and occasionally trembling timbre, embodies vulnerability and lightness, the sonic image of a being still in formation. The cello, by contrast, offers warmth, depth, and stability. Anchored in a lower register, it acts as a maternal sonic cradle, representing containment, protection, and nourishment. The dialogue between these two voices, the hesitant violin and the enveloping cello, becomes a musical metaphor for early attachment, illustrating the in utero stage as a relationship of sonic dependence and care.

BIRTH, CHILD and ADULT, growth and differentiation

This extended section unfolds within an asymmetric rhythmic framework, notably in 7/4 time. This irregularity introduces a subtle but persistent tension, conveying the unpredictability of life, the uneven rhythm of growth, and the repeated surprises inherent in development. As the piece progresses, density and complexity gradually increase, tracing a clear metaphor of maturation.

Birth

In Birth, the music remains anchored in the original simplicity of the pentatonic melody, representing the genesis of the psyche.

Child

In Child, the discourse becomes more animated and expressive, rhythmic vitality increases, and musical lines intersect more frequently, evoking early interactions and playful exchanges.

Adult

In Adult, the writing becomes assertive, polyphonic, and decisive. Staccato articulations become more prominent, and each note asserts its individuality, symbolizing autonomy and self-determination. These repeated, precise attacks express agency and resolve.

PATHOS, crisis and fragmentation

The previously ascending and luminous musical trajectory undergoes a sudden rupture. The atmosphere darkens, tension intensifies, and inner instability emerges. The introduction of semitones, particularly minor seconds, creates close, friction intervals that generate a strong sense of internal conflict. Dissonance becomes more prominent, replacing openness with fragility and vulnerability. Melodic motion, once ascending, turns downward, suggesting loss of momentum and emotional collapse. The music seems to withdraw into itself, burdened by unresolved tension and psychic overload.

IATROS, inner healing

The section dedicated to healing marks a decisive shift in energy. The piano asserts itself with forceful dynamics, signaling an active internal struggle rather than passive suffering. Rhythmic drive intensifies, creating a sense of forward motion that is almost combative, as if the music were pushing back against collapse. Ascending melodic lines reappear, but this time they carry determination rather than naïveté. Tension is no longer destabilizing, it becomes the engine of reconstruction. Symbolically, this passage embodies the psyche’s inner battle, the effort to regain balance and reorganize itself after crisis.

SOPHIA, wisdom and reconciliation

“Sophia” represents resolution and transcendence. A clear rhythmic shift into 6/4 time introduces a long, flowing waltz, unhurried and expansive. The psyche can finally dance, calmly, freely, guided by the serenity that only lived experience can bring. Here, accumulated dissonances dissolve naturally within the musical flow. The alternation between pizzicato and arco becomes a central expressive gesture, symbolizing the reconciliation of opposites: tension and release, body and spirit, fragility and strength. Sophia embodies wisdom, integration, and inner peace.

Variations and functional extensions

From this Pièce Mère, several variations were created, each responding to specific needs of the CFP.

The Virgule functions as a sonic signature, a five-second identity marker, brief yet immediately recognizable, reinforcing memorability and association with the Congress.

For Social Media, lighter and more rhythmic adaptations were developed to accompany informational videos. These pieces are designed for easy listening: accessible, non-aggressive, loopable, and optimized for playback on smartphones, computers, and headphones.

The Drone composition was created for CFP Lyon 2023, for the event Psy de Rêve, Rave de Psy at Le Groom. Lasting 27 minutes, it serves as a preparatory sonic prelude, establishing a psychedelic atmosphere. Material from the mother piece is reinterpreted through external analog synthesizers, evolving from raw, archaic sounds toward complex, organic textures, evoking growth and metamorphosis.

Finally, Interstice was conceived to create breathing space within the CFP’s transitional physical environments. Featuring 79 instrumental voices symbolizing plurality, the piece gradually unfolds into a magical atmosphere before simplifying into a single essential sound, a vibrational source from which everything can re-emerge. The return to initial motifs allows the piece to function cyclically, oscillating between surface and depth.

The Public Presentation

On December 11th, 2025, we had the pleasure of presenting this work publicly in the magnificent Debussy Hall at the Palais des Festivals in Cannes. We were deeply moved to hear the composition performed live by a quintet from the Cannes Conservatory.

We warmly thank Alain Baldocchi, Director of the Cannes Conservatory of Music and Theatre, and especially the musicians Caroline Debonne (flute), Eugénie Goldobine (piano), Nadine Miccio (violin), Laurence Tavares (clarinet), and Chloé Triscornia (cello) for their sensitive and exemplary interpretation. Hearing the work come alive through their musicianship was a profoundly emotional and meaningful moment.

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Credits :

Original soundtrack for the Congrès Français de Psychiatrie CFP 2025

Composers: André Aires Augusto + João Santos

Project direction and conception: João Santos + Luc Mallet

Performance, quintet:
Flute – Caroline Debonne
Clarinet – Laurence Tavares
Violin – Nadine Miccio
Cello – Chloé Triscornia
Piano – Eugénie Goldobine

With the support of the Congrès Français de Psychiatrie, the Conservatoire de Cannes, and the entire organizing team CARCO.