I'd like to arrange an electronic version of Chopin's Berceuse <

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I haven't acoustic knowledges, but I'm searching for advices, for tips on "from where I could begin?".
So, this is Berceuse's score: <http://www.allpianoscores.com/audio_scores.php?id=208>, <http://imslp.org/wiki/Berceuse,_Op.57_(Chopin,_Frederic)>, <http://www.kunstderfuge.com/chopin.htm>.
The theme is continously processed with different "automatic" variations: quadruplets in spirals, chromatic quadruplets, triplets in thirds, appoggiaturas in sixths, repeated thirds, etc. It's like a catalogue of the "auto-generative" abilities of Chopin's pianoforte and composition techniques.
Now come back to electronic...thinking about an electronic "upgrade" of Berceuse, my question will be "Which is, in your opinion, the autogenerative processes that match with quadruplets in spirals, chromatic quadruplets, triplets in thirds, appoggiaturas in sixths, repeated thirds, etc? (I don't mean "how can I obtain a repeated third with PD", I mean "which modern electronic effect could refer to the ancient repeated third in Chopin".) Let's take one by one...
So, guys, can you answer something like "bars 1-8 use this-process in PD", "bars 9-16 use that-process in PD"?
I'm not searching for filters or equalization for a live performance, I'm searching for generative process for audio (or MIDI, but I'd prefer audio).

Nobody can help me?
'Ndèmo fioj...no ste far 'e pìttime... (in venetian "C'mon guys, don't play hard to get!"
Let's think freely... Image the bone in 2001 Odyssey: a primitive sees a simple object, the bone...but only after a hunch, he realizes that you can add a function to the simple object...so object + function = instrument!
Back to Kubrick: in modern time, the bone becomes the spaceship for 2 reasons:

1. the bone and the spaceship have similar shape
2. all technology is based on the primal act of adding a function to an object, the act of transform a simple object into an instrument...the bone and the highest technology share the same nature: man is man's wolf!
   Ok, so the spaceship in the "modern" bone. This is an answer! Kubrick's answer.
   What could be the porno-movie's answer? Mmm... 1) similar shape... 2) to transform an object into an instrument... I don't know, let's image by yourself!
   What about Disney's answer? 1) similar shape 2) from object to instrument: perhaps the answer could be a timpani mallet that strikes kettledrums in Fantasia!
   So... Chopin's Berceuse...
   I'm asking to you: which are, in your opinion, the modern electronic/electroacoustic processes that match with that Chopin's variations processes in Berceuse?
   Let's take it as a facebook test! Do it. I need your help, seriously.
   Here there's a little analysis of Berceuse...please, try to image an answer for every item described below...
   BERCEUSE/bars
   a) 1-2 loop
   3-6 theme (subject)
   c) 7-10 counterpoint: 2 thematic lines (countersubject + answer)
   d) 11-14 theme "boxed" in a repeating module built like a mirror of intervals from first bar of theme (ascending 4th, descending 3rd); then "bachian" episode
   e) 15-18 theme as acciaccatura on 5th deg
   f) 19-22 fast quadruplets on intervals from theme's 1st bar (4th and 3rd), then on chromatic scale, then on 3rd only
   g) 23-26 3rd now in harmonic distance, moving in triplets on his inversion (6th); then chromatic scale
   h) 27-30 harmonic 3rd "enlarged" to 6th (6/3 detached chords with a note transposed by octave up&down)
   31-34 harmonic 3rds (chromatic + repeated, then chromatic + A pedal like bars 15-18)
   l) 35-38 chords like crystals (moving, inverting, pressing...revealing "reflections" of the melody); then A pedal again but higher, with diatonic intervals
   m) 39-42 detached 6thes moving on the inverted intervals of theme's 1st bar (now desc. 4th, asc. 3rd); then 6thes on chromatic scale
   n) 43-46 descending "sundry" scale (major+minor); then trill; then arpeggio on tonic chord + repeated 5th deg; then arpeggio on dominant chord + repeated 5th deg; then detached moving built on theme's 2nd bar in inversion (B, C, E become B, A, F); then finally detached 3rds-and-6thes on chromatic desc. scale
   o) 47-50 "2nd" theme
   p) 51-54 triplets with a "memory" of the 1st theme (A, B, D, C, F...the notes in bar 10 first-half)
   q) 55-58 "divertimento" on tonic chord
   r) 59-62 "divertimento" on dominant chord
   s) 63-70 1st theme "interrupted"...almost a "notation in fade-out"

I'm sure this isn't the answer you want to hear, but I don't think you're going to get the answer you want, either. Giving a one-to-one relationship between two composition techniques isn't likely to help without being considered in the context of the whole, and quite honestly, if any of us were to give you all that, we may as well write the piece ourselves. I think you're better off listening to some modern electronic music you like and analyzing it much like you did with Chopin. Look at every detail, from melodic, harmonic, and rhythmic variation to processing and timbre variations. Then try mapping some of the techniques that interest you to the ones used in Berceuse and see how you like them. While Chopin had a lot of tricks up his sleeve, in the end he still relied on his ears, and that's what I think you should do, too. If you need help with a more specific technique, you'll probably get a better response here. Or at least from me, anyway .

Good luck!

Mmm... Yes, I agree with you. The problem is that it's easy for me to analyze classic music, but I haven't "scientific" knowledge to analyze electronic music. I could "map" some "effects" but I could describe them only in a synesthetic way...a poetic way. Anyway... I'll try to clarify my own ideas.
Thanks Maelstrom

yeah, i'm sorry, I'm with maelstrom here, there is just too much here to take in, though I do really enjoy your creative approach