Patajaslotcha  (1984) – 25′

suite of dances for nine instruments : Trumpet, 2 Saxophones, Singer, Piano, Double bass (Low-Guitar),

3 Percussions

Composed for the Bal de la Contemporaine. Musica 84, Strasbourg 1984


“Old-fashion reconstitution of a suite of dances for a ball of the Fifties : paso-doble, tango, java, slow, fox trot, cha-cha, with picky harmful words.”

At the request of Pablo Cueco for the Bal de la Contemporaine, this suite of dances was premiered in Musica 84. That is information.


Pablo Cueco had required several composers of music known as “serious” or “traditional” or “contemporary” or “modern” or “heavy” – generally when I am questioned I test one of these five terms and there is always one of them that works depending on the background and of the culture but it I is irrational, I could not make statistics – to compose a music to be danced. That is one more information.


So I thought of the balls of my childhood, when I began in the play of seduction. Mimi Pinson, the Ball of Robinson in summer, the balls of any town halls, the Balajo, the dance hall of the Coupole, etc… when Sundays I was going to cherish girls older than me and than to age me I let myself push the moustache.


I thus composed these five pieces while thinking of these years when my swaying walk was without fault and where no friction was likely to disturb my taste of the rhythm, like a suite of canted stereotypes.


Patajaslotcha, i.e. paso-doble, tango, java, slow fox trot, cha-cha, are as many comedies in which is played a conflict between the old fashioned and modernity – isn’t that what one calls postmodern ?