… I can say to simplify, because there is no use for complicating the things if one can make differently, that Comme une fantaisie dite des réminiscences and Sexolidad, are two scores which belong to the same group.

One can recognize thematic elements that are in both. Indeed, of the time when Fantaisie was called Scène du va et vient, it made with Sexolidad, part of a suite whose title was stiff enough: One evening with Matricia Perséverse. It is thus normal to find ideas, atmospheres, memories which go and come from the one to the other of the two scores.

But to remain in simplicity, I will not extend on this subject, but rather on Sexolidad that requires some explanations.

Here what I said at the time:

“It is a music which is in a tonal language. Permanently. It is based on a certain number of tonalities…” I would say now: a series of tonalities.

“… which are fixed on body significances. Each one represents part of the body. Nothing very original; the tonality, one finds it since the beginning of the Seventies, but what interests me here, is the point of view of the shape which is to mean the body geography through them…”

I would say now (let us be precise): to each part of the woman’s and the man’s body is allotted a different tonality; if now one makes move the bodies, one obtains a succession and a superposition of tonalities.

“… I tried to use this system like a handle, like a means of excitation of my imagination. Afterwards, how it is done does not have a great importance, unless that this process creates a particular harmonic climate, a kind of peculiarity that is to slip on something of known, but not completely. The important thing is the expression that this pseudo-tonal atmosphere should bring, like a kind of sensual and even carnal satisfaction.