Rhythmics and Repetitives
(24 rhythmic studies for two pianos) 1989 - 2001

All these studies * arise from a catalog of ideas "appeared from the nothingness" between December, 1988, and February, 1989, period during which Alix, my second son, was born... This opus is dedicated to him. These ideas, left in a bottom of drawer during ten years, reappeared in 1999 on my desk. The first one of them, Les fourmis, so efficient in my taste, urged all pieces to become these rhythmic studies for two pianos. They are of an invoice generally simple tonale. I so wanted them to glorify the tonic and dominant tones true agreements and to make mine the simple and authentic enjoyments which these last ones get. They bring such a coolness when they are associate to devil rhythms! My only criterion, to judge these works efficiency once the ended writing, was the enjoyment and the urge to dance that they got me. The rhythmic shape, find its justification in this visceral need to knock on the most divers objects with my fingers and my palms. With these works, I passed on this necessity in the keyboard. They move closer to me to this deep moose which gathers the human beings in the nature multiforms cycles and forces. So some musical essence, the primitive pulsation, our previous history.

These compositions were wholesome me. They have me extirpate of a stifling intellectual hull. Psychologically, they constituted the working pedestal on which I patiently reconstructed after a some years forced boarding in the galleys of the arts. They handed me little by little in the sense of the life. The choice of the two pianos instrumentation is a Ravel's technical challenge that owes face every true composer and who was first suggested to me by some outstanding performers for which I have the greatest admiration from my youth. Furthermore, and it is not a lesser pride even if it is anecdotal and ridiculous, this work produced a record in my professional way: create an opus which contains more than 100.000 notes!

Finally, I wanted to compose them by challenge in the western academic spirit which considers that a good music must be harmoniously technically difficult, grey and finally freed from its simple pleasures subjection. I wanted to close this debate also in my own conscience and to show that there are not of limits in the complexity and in the dogmae.

  
 
I also wished to find this unit with the worlds which surround me, to take again the roads of the heart. By losing sight of them, we travel in a moral and emotional desert. Our suffering becomes that of a human society where the rationality is set up as only point of reference. By finding the authentic emotion of the childhood, essential measuring instrument, we take up with this simplicity which, only, makes of us human, close beings to the universe. By denying them, we are but the pawns of a barbarous and sanguinary Moloch.

* Except : Le cirque composed in 1993 for In the Picture (Au Cœur des Toiles) and refused for the homonymous TV program, Fughetta in Prom's composed in 2000 and the origin of which is the allegro moderato of Apologie des Fragrances (first symphony), In peace with yourself  written in the Michel Petrucciani's memory that I had the honor to meet in the Jazz Masterclass Johnny Walker of Monaco in 1993, Dance for the peace written in September 2001, Croissant Jazz is an adaptation for two pianos of one of my songs written in 1985.

Les fourmis had already the honor to be performed in concert by Hélène Berger in several occasions and various twin piano associations : with Valérie Benzaquine (the Academy Niedermeyer Issy-les-Moulineaux teachers’ concert), Martine Gagnepain and François-René Duchâble. This last one honoured me, thanks to Hélène Berger's intervention to create in duet with her Les p'tites frappes and In peace with yourself during two concerts, (2002, at French Insep , 2004 at france-92 Saint-Cloud Centre culturel des trois pierrots ) for two Micheline Ostermeyer's concerts homages, thanks for the virtuoso and triples Olympic medal-holder. Finally, thanks to the Toho Gakuen School of Music which bought me the collection of scores, 16 of 24 studies were performed on April 19th, 2008 by Tetsu Mashiko & Masaki Nishihara in Tsukishima Piano Art Salon, Tokyo. Once again, the January 10th, 2011, Tetsu Mashiko & Masaki Nishihara performed Croissant Jazz and In peace with yourself in the frame of a performance devoted to the jazz, A Jazzy Night in Bangkok, at the Thai German Cultural Foundation Auditorium, Bangkok.

Very thanks to all.

  1.   Les fourmis pretty hard

 3'26"

  2.   Tango verde very difficult

 3'31"

  3.   Little train for Keith Town very difficult

 3'52"

  4.   Sunday party very difficult

 2'10"

  5.   Om quite easy

 3'57"

  6.   Le cirque difficult

 2'05"

  7.   In peace with yourself quite easy

 2'39"

  8.   Mosquitos very difficult

 2'58"

  9.   My green valley difficult

 3'22"

 10.   Élégie very difficult

 4'58"

 11.   Poltron minou quite easy

 2'01"

 12.   Child's nightmares pretty hard

 2'22"

 13.   Tordesillas extremely difficult

 3'30"

 14.   Dance for the peace difficult

 4'30"

 15.   Ultima Thulé very easy

 3'18"

 16.   Les p'tites frappes very difficult

2'45"

 17.   Missa negra pretty hard

3'25"

 18.   Tournelafarandole pretty hard

3'15"

 19.   Mañana very difficult

3'32"

 20.   Missié universel very difficult

3'40"

 21.   Croissant jazz pretty hard

2'48"

 22.   Fughetta in Prom's extremely difficult

3'40"

 23.   Cheese Rap very boring

3'30"

 24.   My kingdom for a gentle mare quite easy

2'30"











Contact  
References  
Biography  
Recommend us  
Curriculum Vitae  
Online Store  
Links  
Blog  

FR |  EN |  ES   

     
|Video  tags|
light dream
children sails
travel milky
way
rhythm
harmony peace
two pianos jazz
cosmic market
promenade