Krisp

Hello everyone, I hope you are doing well. This simple lullaby on a single chord to illustrate my father's photos. This little thing comes from an improvisation at the beginning. Don't look for more than a contemplative moment in the service of images.

Thank you for your attentive listening. I admit that I have moved on to other occupations since the writing of this piece and you are grateful that you can bring me back a little to the time of this composition. I am very happy that my little harmonic tricks win your support. You must have noticed that when you walk on the edge of the tone, you can get trapped by ease and convention, and soon also make big beginner mistakes that are then understood as writing clumsiness. It is therefore a little challenge to play on these lines while trying not to fall into the traps. There is sometimes some left (you must have heard something that crumples me: on the words "plaquant un dernier accord", I left the delay and the note delayed at the same time, telling myself that I was going to correct this later to make the line clearer. Especially since it is the evocation of the "dernier accord, last chord", so a certain furtive dissonance was my goal, Because this last chord could only be slightly dissonant, but here, I find afterwards that the idea lacks precision of execution and is understood as a clumsiness rather than as a will. That's how it is ; I have to accept to leave failed things according to my own criteria (others will find that the whole thing is failed Haha). You are also right about the possible use of unacorda, which I generally love Because I consider it a very important piano timbre game, especially in chamber music. It is also something that could have been done easily. And there was a card to play just as you emphasize between the sound and the meaning on the cotton in the ears. The reason is very trivial: I don't have a unacorda on my master keyboard. I didn't recorded the piano not on my digital piano (a clavinova) which is to the right of my desk, not very easy, but on the Komplete keyboard that is just under my hands when I am sitting in front of my machines, and there is only one midi pedal for the sostenuto. That's what I can say. And thank you again! Your opinion is precious to me!

Merci !

Well, I'm glad you like it. I know that I can be blamed for redoing post-impressionism or anachronistic romanticism. There would naturally be other ways to musically illustrate these beautiful texts by Jules Laforgue that have accompanied me since I was very young, but hey, I assume at my almost advanced age to be able to do what goes through my head! I sometimes mentioned some reproaches that could be made to me in my youth, where my mentors saw my writing a little as retrograde (they excused me because I was nice anyway haha) But at 54, my old serial masters no longer have too many reproaches to make me, where they are. And since I compose for my simple leisure, I admit that I feel free on YouTube to pass for anachronistic.... In any case, thank you for listening, it makes me very happy!

Hello everyone, Here is my last little composition, this time for piano and singing. Text full of bitterness by Jules Laforgue, whom I love so much, for this very particular language, a mixture of strangeness and almost ridiculous simplicity. Do not hesitate for any remarks or criticisms. I know I'm not very in tune with my time... And that I still cultivate the impressionist nostalgia somewhat... But well... ok.

I also take advantage of this writing break to work on visual projects: photos, videos or drawings for order-made illustrations. This activity also takes me a lot of time, Forces me to meet certain deadlines, and I'm already late... We all have overflowing lives!

Thank you Henry for your attentive listening! It is always appreciable to be heard by so many connoisseurs on this forum and your opinion is a treasure for me! I'm a little paused for the composition because I'm leaving a Verdi production (it's my job as a chorister) and I was a lot on the road and on the move. It will take me a little time to recharge my envy batteries. I don't know if it's identical with you... I sometimes have the impression that the composition phases put my reserves a little flat so I need a break. I will have to find other ideas during the fall. But just talking about it here already makes me want to go back in front of my music paper!

Oh, my mistake. It seems that the "chouette hulotte" is still said differently in English (I don't know either...) The mystery remains!

Hello ! Thank you For this surprisingly attentive reading ! So at 0.43 we have firstly the solo trumpet of the staccato orchestra on C# F# C# In triples Then immediately a response from the solo tenor trombone on C F C In triples too, and the last answer of the motif comes to the cor solo staccato on F# B F#. At the bass the double bass in fifth. Ostinatis in violins 2 altern 1 (Parallel thirds) And flutes too... The "motifs" that you have well identified serve me as building materials. The first this kind of call in the fourth, then the second pattern based on a game of minor third descending and then ascending to the half-tone, various mutations, actually leads to 4:56, but it would be tedious to list all this. (The wolf-owl bravo! It was the little night wink... Haha.. I wasn't sure if anyone heard it)... (In French it's "chouette hulotte" but I prefer the name you give it and that I didn't know)

Bravo! Indeed, this is indeed the case, and moreover this passage that you mention precisely gives the name to my play "the astral tide"... (hantise at 2:52) and it is also about a similar coda in « l’hiver qui vient », for voice and orchestra, composed when i was Young… So I drew on all this without imagining that someone would have the insight to notice it... Congratulations again for your very good musical memory! Thank you in any case for your listening and this enlightened comment!

Hello, Very beautiful music bravissimo. And what a pleasure to hear these singers, They sing exceptionally well. This second version is very successful at the prosody level (and the interpretation even more controlled vocally, and musically. "rejoindre" the DRE is to be placed in the prosody otherwise we have an inelegant contraction. French is not known a priori for its strong tonic accents, but they are present and sometimes surprising, they can give the expressive intention (And often dependent on the meaning we want to put in the sentence we pronounce). But overall here, it's quite well done, so congratulations. We can perfectly understand the text (version 2) in having to read it, which is an excellent thing. Only a few colors of vowels drift slightly but we are used to closing our eyes to these little things... I believe that as such, for example, the French forgive foreign singers singing French much more than they reciprocate! But you know, despite these few observations, I am conquered by such a beautiful piece so well sung! It's beautiful.

Indeed, I listened to your play with interest and pleasure. The ideas are varied and numerous. They are well condensed in a few minutes, which gives a large expressive picture that can be listened to and read very well. I am unfortunately less convinced by the rendering of the samples, but I know that this is not your goal. We can do much better provided we go to a specific midi programming job that cannot be done in a score scorer. Bravo in any case.

Hello dear young composers. Here is my new trinket, composed for orchestra and solo trumpet. Samples, of course, (unfortunately)... I hope you like it!

Hello, thank you for throwing your expert ear on my little scarecrow. I can understand your opinion. The texture is indeed continuous, and the choice of having two blade instruments that complement and take turns is a way for me to build the accompaniment of this unique protagonist who is the bass clarinet. (Marimba and vibraphone, with occasional intervention of a glockenspiel). The rest of the set (requiring a third percussionist includes: crowtles, tam, tubular bells, triangle, cymbals, woodblocks, snare drum. and there is no other skin instrument such as drums, bass drums, or timpani. It is also a choice. My old age sometimes makes me make decisions that young people don't like ;)))

Hello A new miniature, for bass clarinet and percussion ensemble. This is the third piece in a small series of scarecrow portraits.