MUSIC

Composition is a long thread that unwinds from a skein and faster and faster. In this rotation of the skein, there is even in itself musicality, marked by the incessant rhythm which progresses and is perpetually complicated. Similarities also bring it closer to the construction of a house. First, there is a frame, the skeleton of a theme in its most elementary expression. Come next materials for consolidation, making, and then ornamentation. The final touch is that of color with its varied shades and hues. It is also similar to making a garment. There is the initial sketch of a new fabric cut, then the drawing of the parts, their cutting, assembly and seam. Patterns, texture and reliefs are essential. In music, sewing is the transition, just like in a text of words, from one paragraph to the other. It should easily slide from one idea or one picture to another, as on a well polished piece of wood. Or it must mark an interjection, an exclamation in the story. This is what musical creation could look like as the emergence of an inner process of gestation.

The beginning of a composition is also a mark that we place on a sheet of paper. This mark, in charcoal, pastel or pencil, is one of the most elementary. It is an embryo. It is shapeless. It represents a sort of framework that will gradually support a series of graphite or charcoal strokes. Each new line defines and confirms the form that is emerging. Similarly, on a score, the notes, adding to each other, print a movement that gradually asserts itself and becomes more complex.

Everything is music. Life is fugue and litany. If we observe carefully, human activity naturally generates a myriad of melodies and rhythms. All we have to do is listen to the ambient sounds that surround us. It is an inexhaustible basin, just like the village fountain that flows generously and in an ininterrupted manner. The raw material can certainly be transformed, and sometimes so little, so often is moving the intrinsic poetry that emerges from our surrounding sound world. Thus, the composer is above all a contemplative being who performs a translation from reality to imagination.

Un pas de deux. Unpublished composition for acoustic grand piano, 2019 (7,36 minutes).

Quelques pas de danse. Unpublished composition for acoustic grand piano, 2019 (2,05 minutes).

Suite anecdotique un. Unpublished composition for acoustic grand piano, 2019 (6,19 minutes).

Modulations I. First of five suites, unpublished, in three movements, of the cycle Transes, for acoustic grand piano, 2024 (104,22 minutes).

Modulations II. Transcription, for two acoustic grand pianos, of the first of five suites, in three movements, of the cycle Transes, in preparation, 2025 (104,22 minutes).

Reverberations. Second of five suites, in three movements, of the cycle Transes, for two acoustic grand pianos, in preparation, 2025 (90 minutes).

Refractions. Third of five suites, in three movements, of the cycle Transes, for two acoustic grand pianos, in preparation, 2025 (90 minutes).

Elaborations. Fourth of five suites, in three movements, of the cycle Transes, for two acoustic grand pianos, in preparation, 2026 (90 minutes).

Contemplations. Fifth of five suites, in three movements, of the cycle Transes, for two acoustic grand pianos, in preparation, 2026 (90 minutes).

music literature arts notebook

français