As part of my composer residencies at the conservatory, alongside my professional works, I have always had the concern of writing short didactic works for apprentice musicians so that contemporary writing does not rhyme with "_cc781905-5cde -3194-bb3b-136bad5cf58d_too difficult, not for me, inaudible ”. In the context of an open education, it seems to me fundamental to familiarize the ears of the youngest with harmonies, processes, modes of play, etc. of today. My experience has shown me that  by instinct, if you don't condition them " classiquement ", children are prime initially receptive to all current expressions. It is important to understand that contemporary feelings can only be approached by mounting works by contemporary composers.

For my part, the starting point for writing these pieces is often the “ rushes ” that every composer leaves in his drafts once the work is finished. But sometimes they preceded the professional work, like so many undeveloped potentialities. I have often said - and I have been wrongly reproached for not understanding what I meant - that these were to my other works what Ready-to-Wear is to Haute-Couture. There is obviously nothing dismissive on my part ; on the contrary, the greatest couturiers do not disdain ready-to-wear, for its simplicity, its freedom and… for a question of the market.

Teachers will find there all levels and almost all the instruments taught in a conservatory. That said, many of my works intended for professionals are affordable by students in cycle III of the conservatory. The difference is in the duration and the more or less elaborate form.

Unlike the “ pédagogiques ” works, I wanted to offer apprentice musicians real works in the formal sense of the term. It's my music, but simplified to make it accessible to students. Writing in no way yields to ease of use as soon as one writes for students. A great requirement is required here and the instrumentalists, like their teacher, will have to take care to play with sensitivity and very precisely what is noted on the score. These works will be interpreted with profit during an audition. In the case of those written for the highest levels, they are short concert works that professionals can appropriate like so many short fantasies.