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REVERBERATIONS
Reverberations. Second of five suites, in three movements, of the cycle Transes, for two acoustic grand pianos, in preparation, for April 2025.
Human communication can be conceived literally and figuratively as an incessant reverberation of sounds, colours, shadows and light, coldness and heat; of sensations, impressions, perceptions or interpretations. It is a continuous flow of echoes and reflections, of answers and propositions, of reasonings and affirmations. Through this sustained noise of life, beings listen, speak of themselves and are sometimes heard, sometimes not. It is a buzzing in the background of human activity that never vanishes. In the dead end of a small street, one can hear murmurs, a confused rumor or even a noisy clamour. At times, in the city, there is a tumult, may be also a persistent roar. Once in a while whispers emerge from a sacred silence protected by nature, protests are shouted in the public square or supplications are sung in the humility of places of worship. This is the underlying meaning of Reverberations, which, like Modulations, is part of the minimalist current of contemporary classical music represented in particular by Philip Glass, but which is also inspired by certain rhythms and tones explored by Francis Lai and Dave Brubeck. Reverberations aims to capture simple components of human discourse in its most diversified forms such as calm or agitation, impulsiveness or reflection, determination or uncertainty. Sometimes speech is babble, sometimes words resound and resonate in the space of transmissions like detonations. Sometimes they are insignificant and baseless. At other times, they change the trajectory of events. Reverberations is a sound journey in three movements into the universe of exchanges, interactions and communion between human beings. A few bars are devoted to a discreet homage to Philip Glass’ opera Satyagraha. The ninety-minute score is scheduled to be completed in April 2025.
Sound clip, two pianos, Midi version.
Pattern sequences in the first movement:
\ // \\ / / \\ // \ \\\ | // \ / \\ \ // \\ / /// \\\ // \ / \\ \\ / \ // | /// \ // \\ / / \\ // \
Excerpts of handwritten notes for the writing of the score:
Excerpts from the current writing of the score (p. 49, 51):
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