It is the inner voice, the voice one has to know how to listen to, that
talks to us of dusk, wind and leaves, of the passing friend… homage
to Schumann, Eusebius and Florestan. It is also this inner voice that
Andree Chedid evokes - Andree Chedid that I recently had the pleasure
to work with. "Where are you my faraway voice - you who talk like my
soul - buried under the day and the rumors - under gold and the seasons
- under the lament in the street - and the ferments of the towns… in
my tomb of worries and blond laughters - in which nudity do I have to
wall up - so that the voice comes - the voice that speaks like my soul..
The homage. Already in my "11 preludes for piano"
I mentioned Messiaen, Beethoven, Chopin, Bartok, Debussy, Mahler. All
composers from the 20th century that are close to my heart… when I feel
far from music, just thinking about them refreshes me, invigorates me…
like 'Baudelairian phrases' and I try to send back a bit of the light
they bring me. It is not about pastiche or quotation, but about impregnation,
about a poetic jumble of the memory, of a tradition also one could say,
in the sense that for me the concept of tradition is a concept open,
wide, difficult also.
The dirges and other movements. Certainly the writing
of the two dirges clearly designated as such, one rather slow, the other
rather animated, comes from personal experience. But it particularly
shows the timelessness of the feeling of death, perceived sometimes
as the Schubertian comforter, sometimes as a glimpse of eternity… I
thought for a long time of writing a vocal "Requiem", and
this project hasn't been abandoned yet. It is not by chance either if
two of my works are written from the 'Psaums' texts and if an older
piece, for soprano and string quartet, was written using Max Jacob's
poem 'Night'… Incidently the extreme movements are like soothed melancholies,
'comments', 'vanities'. The former uses canonical writing, in a distant
allusion to Franco-Flemish polyphony; the latter is in a more melodic
vein, where choir and tristanesque English horn follow each other. And
even the third movement, in its polyphony a la Ligeti, ends with a choir….
The last piece: it ends quietly in E flat minor, and it
fits in with the tonal expression and thought - I doubt the latter was
ever far from my mind. It can be found between the lines in each of
the 5 parts of "Mit Innigkeit".
sample : performed by the ensemble Erwartung, conductor Bernard