Rhythmics and Repetitives(24 rhythmic studies for two pianos) 1989 - 2001 All these studies * arise from a catalog of ideas "appeared from the nothingness" between December, 1988, and February, 1989, period during which Alix, my second son, was born... This opus is dedicated to him. These ideas, left in a bottom of drawer during ten years, reappeared in 1999 on my desk. The first one of them, Les fourmis, so efficient in my taste, urged all pieces to become these rhythmic studies for two pianos. They are of an invoice generally simple tonale. I so wanted them to glorify the tonic and dominant tones true agreements and to make mine the simple and authentic enjoyments which these last ones get. They bring such a coolness when they are associate to devil rhythms! My only criterion, to judge these works efficiency once the ended writing, was the enjoyment and the urge to dance that they got me. The rhythmic shape, find its justification in this visceral need to knock on the most divers objects with my fingers and my palms. With these works, I passed on this necessity in the keyboard. They move closer to me to this deep moose which gathers the human beings in the nature multiforms cycles and forces. So some musical essence, the primitive pulsation, our previous history. These compositions were wholesome me. They have me extirpate of a stifling intellectual hull. Psychologically, they constituted the working pedestal on which I patiently reconstructed after a some years forced boarding in the galleys of the arts. They handed me little by little in the sense of the life. The choice of the two pianos instrumentation is a Ravel's technical challenge that owes face every true composer and who was first suggested to me by some outstanding performers. Furthermore, and it is not a lesser pride even if it is anecdotal and ridiculous, this work produced a record in my professional way: create an opus which contains more than 100.000 notes! Finally, I wanted to compose them by challenge in the western academic spirit which considers that a good music must be harmoniously technically difficult, grey and finally freed from its simple pleasures subjection. I wanted to close this debate also in my own conscience and to show that there are not of limits in the complexity and in the dogmae. I also wished to find this unit with the worlds which surround me, to take again the roads of the heart. By losing sight of them, we travel in a moral and emotional desert. Our suffering becomes that of a human society where the rationality is set up as only point of reference. By finding the authentic emotion of the childhood, essential measuring instrument, we take up with this simplicity which, only, makes of us human, close beings to the universe. * Except Le cirque 1993' composed for In the Picture (Au coeur des toiles) and refused for the homonymous TV program - * except Fughetta in Prom's2000' composed and the origin of which is the Apologie des Fragrances ( first symphony ) allegro moderato - Les fourmis written for Valerie Benzaquine and Helene Berger - In peace with yourself written in memory of Michel Petrucciani that I had the honor to meet in the Jazz Masters Class Johnny Walker of Monaco in 1993. Dance for the peace written in September, 2001. Croissant Jazz is an adaptation for two pianos of one of my songs written in 1985. Les fourmis already had the honor to be played in concert by Helene Berger in several occasions and various twin piano associations: with Valerie Benzaquine ( the Academy Niedermeyer Issy-les-Moulineaux teachers’ concert ), Martine Gagnepain and Francois-Rene Duchable. This last one honoured me, thanks to Helen Berger's intervention to create in duet with her Les p'tites frappes and In peace with yourself during two concerts , ( 2002, at French Insep , 2004 at france-92 Saint-Cloud Centre culturel des trois pierrots ) for two Micheline Ostermeyer's homages, thanks for the virtuoso and triples Olympic medal-holder. Finally, thanks to the Toho Guaken School of Music which bought me the collection of scores, 16 of 24 studies were performed on April 19th, 2008 by Tetsu & Masaki in Tsukishima Piano Art Salon, Tokyo. Very thanks to all.
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