Comme une fantaisie dite des réminiscences (Dec. 1989 – Jan. 1991)
Like a Fantasy known as of the Reminiscences
For two pianos — 25′
Albi, April (1994)
… of course this problem remained in my silence and I wondered what to do with it. “Scène du va et vient” (“Scene of the comings and goings”) was a piece remained drawer by its lack of convenience.
I thus opened periodically the drawer of my convenient and asked me what to do. Which damage indeed.
Here a piece for piano rather well balanced, but which required, at the same time the intervention of an actress which says anything, and of a trio in a last straw.
That is really not the ideal for an all-alone pianist. How to circumvent this aggravating difficulty? And then one day I had the savage idea: in making a piece for two pianos since there was of them already one. It is so simple.
Well I was mistaken, because two pianos that is not twice a piano, that is not a piano multiplied by two, and that is not either a piano plus a piano. They are all kinds of things which I will not explain here but which makes that that is not the same music which comes out there, or which came out from there, from this adventure or this naive intention. And that is not thus any more “Scène of the comings and goings” but a new thing, which is called now: Like a Fantasy known as of the Reminiscences
Remained still a problem: That of Jean Sebastian Bach. Because how to justify the loans, samplings, reminiscences precisely, handling of the well moderated Harpsichord, without this actress which’s the role was a little to explain all that.
And then I said myself that justifies since in the deforming mirror of my memory I recite myself the J S Bach of my childhood, I reminisce the quite moderate Harpsichord which was my book of bedside, that, that I played all time from one end to the other, or by hazardous samplings, or handling by playing me of the styles, from the conservatory style to Webernisme while passing by the post-Bartok jazz-rock expressionism.
Obviously I feel completely innocent, because who more than me loves J S Bach. And this fantasy, which balances between an obsessional formula and fragments of memory, is perhaps like homage.
Then there, I say, here my reminiscences.
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