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The 1st movement is dedicated to the Trio Schubert (Carine Zarifian : piano, Nathanaëlle Marie_cc781905-5cde-3194-bb3b-136bad5cf53b-78: violin and _5cc-1bb490 136bad5cf58d_Christophe Beau, cello).

Created by the dedicatees le July 29, 2007 during the Chamber Music Academy of Belle île en mer.

The 2nd and 3rd movements are dedicated to the Ensemble Stanislas (Catherine Chaufard: piano - Laurent Causse, violin - Johann Causse: cello).

Creation of the entire trio by the dedicatees on June 23, 2014, salle Poirel in Nancy.

Editions Francois Dhalmann

Duration : approx. 20' (11' – 4' - 5')

The form that my music deploys is like a flow, where turbulence, swirls, volutes, spirals… form an ever-changing, fast, light and fluid world that I would describe as baroque.

The movements of this work each have their own character,  thus:

The 1st movement , which lasts about 11 minutes without interruption, is a sound world characterized by the alliance of opposites, where the stable and the unstable, balance and deviation from balance form the basis of writing. The patterns, clearly contrasting between them, seem to spring from each other and continually interpenetrate. By their frequent returns, they ensure the auditory coherence of this intense and lively movement which appeals to the listener throughout.

The 2nd movement, which lasts about 4 minutes, is calmer, deploying a poetic and dreamlike universe with subtle and refined sounds. Based on an alternation of calm moments and dazzling moments,  it is not exempt from a certain tension - if not a strange worry - which is discharged in bursts furtive, reminiscences of the 1st movement and anticipation of the 3rd movement.

The 3rd movement , lasting about 5 minutes, is the very lively and exalted conclusion of the work. Wild and violent in character - as if a wind of madness were blowing here - it propels the end of the work into a world " not yet civilized ", where we constantly change patterns, colors, sound state. The violent and the primary rub shoulders with the childish, the playful and the naive, and this, not without humor and tenderness.

The title The Declinations is a distant echo of Lucretia's famous treatise De natura rerum and the birth of the world that he describes there in the context of the physics of fluids, and not a leftover from my Latin lessons... although the notion of declensions, in the sense of variants, is not without an aesthetic link with my writing.

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