Charmeuse de Serpents
Glissant's first symphonic record embodies his fascination with the mechanisms of musical fusion (or creolisation) that stemmed from the clash between European and African cultures in the history of the Americas. He gets his inspiration from European classical music, folk music from South and Central America (Brazilian music especially), Argentinian Tango, Salsa, Caribbean music, Blues, Jazz and Rock. He spent more than 25 years experimenting with these multiple styles in all types of formations, emphasizing the percussive element from the African influence, and the melodic and contrapuntal styles of European music.
Glissant composed his Symphony No.1 with Brazilian rhythms in mind, but without using percussion instruments. Instead, the percussive element is provided by the melodic instruments, alternating between rhythm and melody.
The tone-poem entitled "Charmeuse de Serpents" uses percussive elements of traditional 'Bel Air" from Martinique, while still influenced by orchestration styles of European music from the first half of the 20th century.