Antisonate pour piano (1953)
The title is already a revolt. It says clearly a will not to become established in a classic shape. Nevertheless, this score does not escape a certain rule: three distinct movements: live, slow and live. It is rather the musical material that needs to be considered, the expression of a savagery and a nonconformism.
In the first and third movement, violence is present in extreme nuances, in formulations of the themes, but also by the use of torn melody and is articulated in low-high unison. Already a revolt facing the serial technique, which prohibited the use of the octaves.
Remarkable also that the series employed for the second movement uses intervals which point out the tonality, was this a sign of revolt or that to be located in a post-modern esthetics?
December 7, 1995
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