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Hello everyone, long time no see. My life has been a mess lately. Anyways, I thought this piece would be a cool way to get back to posting on the forum. As the title says I don't know what title to give the composition, but it should be something somber and evocative. Also this is one of my compositions with the most elaborate textures even though the work is only 32 measures long. For more information feel free to leave a question. 🙂

I wrote this one back in 2014 while exploring triplets in waltz form. Ten years later, I thought it'd be fun to revise and share it with you guys. It originally had a "Waltz" in the title, but I decided to change it to Étude Scintillante (or Scintillate Etude), which roughly means "sparkling study," since the high triplets remind me of sparkly stuff. If that makes sense. Hope you enjoy it!

Hello Peter, Thank you for listening and this comment. The orchestration is indeed a little oversized compared to the very simple purpose of this dialogue. However, I wanted to try to stick as best as possible to the words of each protagonist, namely, the woman's love/mystical exaltation, her alibi, supported by stable tones, a certain clarity of instrumentation, the organ (to emphasize pseudo piety)... in response to the rise in tension of the husband's increasingly pressing and inquisitorial questions, with an instrumentation evoking military instruments (since he thinks he has seen an officer...). The harmonic context then becomes very unstable, dissonant, with an increasingly chaotic singing line.< In my mind, if the woman had the last word, I have the impression in any case that it went really wrong... ("bruler la cervelle", In the end, means "pull in the head" Which suggests that something irremediable may happen after the wife's ultimate answer)... (In any case, that's what I wanted to make you feel in this dialogue, which in my opinion is not trivial). It is not uncommon, in the German Lied or the French Melodie (or even the American or English "Song") to have male or female characters indifferently sung by the same "narrator" (and even sometimes animals (or even objects!)... This must be seen a bit like a declamation of poetry, more so than as an opera scene. That said, I would have loved to summon a colleague to register the wife"s Answers, and I know that it would have been a much more readable approach for the listener, which is a quite right observation on your part! In any case, a big thank you for these relevant observations.

Thank you!

Hello @Krisp! The Clarinet sounds you're using are sometimes very bright! So much so that I sometimes am fooled into thinking that it's a saxophone playing! LoL I love the delicate ppp passages in the range of the Clarinet in which such dynamics are the most effective and speak very easily. The beginning is very surprising harmonically how you keep returning the melody to that b2 giving the piece a certain Phrygian flavor. Overall a very unusual and unique piece! Thanks for sharing.