Dedicated to Marianne Piketty and Jacques Saint-Yves

Preview at Musicora 2007

Duration : approx. 13'. Editions Francois Dhalmann

Initially, a work of learning for 3rd cycle students (State I).

Finally, caught up in the game of seeking all the possibilities of writing within the limits of this instrumental formation, and like Picasso reworking the portrait of Dora Maar, followed States II, III and IV while waiting for the sequel… to this portrait or self-portrait_cc781905 -5cde-3194-bb3b-136bad5cf58d_?

State I  : the constant return of a staccato characterizes this State I, lively and playful. A multiplicity of patterns with opposite characters constitutes it. These patterns are more or less varied and combined with each other. (about 3'30)

State II : resulting from a single musical phrase extracted from my sonata for violin and piano, this kind of slow monody is treated in the spirit of many non-European musics where a sung voice is doubled by a monodic instrument which plays (at unison or octave) the same melodic design but always more or less offbeat and ornate. Here the 2 parts have the same level of complexity and we do not know which of the two accompanies the other. (about 3')

State III : the form of this State III refers to conceptual art (eg John Baldessari in photography). It's always the same little musical fragments that are constantly repeated, like a juxtaposition of photos not necessarily having any relationship between them but forming a kaleidoscope close to a painting, provided you have the necessary perspective. (about 3'30)

State IV : The character of the very lively, wild and violent scherzo constitutes a kind of finale to this false sonata in 4 movements. The pattern of repeated notes is somewhat reminiscent of the staccato of State I but treated from another angle. (about 3')

ADVICE FOR INSTRUMENTISTS

It is the details that characterize each of these states that could infinitely decline the combinations and processing of sound parameters (texture, harmonic, rhythm, intensity, timbre, mass, density, etc.). This type of writing requires the instrumentalists to scrupulously respect all the indications noted on the score in order to give each duo its relief and its own identity. It is very important to instantly change game mode, soundscape, gestures...

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In an educational context it is of course possible to play the duets separately.

In concert, it is preferable, but not obligatory, to play them completely and to link them in the proposed order.