Dedicated to Nathalie Pannier

Creation of the National Music Society. Richelieu Amphitheater

Duration: approx. 7'. Editions Lemoine

At first glance, it was " d' vocaux  exercises for voice alone, intended to work on the technique required in the interpretation of certain contemporary works.

These exercises were quickly transformed into a real work, in the formal sense of the term, thanks to the contribution of a flute, not by reference to the repertoire of the beginning of the century, but because the technique of these two instruments brings them closer than she does not separate them. I therefore reinforced this similarity by very often having the flutist play and sing simultaneously, by asking each of the instrumentalists for ways of doing things characteristic of the other and thus creating reconciliations of timbre, legato, mode of attack, etc.

In the extreme, frequent unisons and alternating notes passing from one to the other in a continuous way, reinforce the ambiguity and contribute to each instrument being the extension of the other. The voice is therefore treated here as an instrument : no text, only phonemes so that no meaning interferes with the pure instrumentality of the music.

This work, of an almost playful character, very often changes sound color and requires the voice, to reveal all the inner poetry, great flexibility and vocal agility.