Quatre Visages du temps (Concerto for Organ No. 3)
Organ & orchestra
• World premiere: 18/07/2017, Ishikawa Ongakudo, Kanazawa (Japan) – Thierry Escaich (organ), Orchestra Ensemble Kanazawa, Michiyoshi Inoue (direction).
• European premiere: 25/11/2017, Auditorium, Lyon (France) – Thierry Escaich (organ), Orchestre national de Lyon, Leonard Slatkin (cond.).
• Scoring: 188.8.131.52 – 184.108.40.206 – 2 percussions, strings, solo organ.
• Commissioned by Orchestra Ensemble Kanazawa, Orchestre national de Lyon and American Guild of Organists.
• Publisher: Gérard Billaudot.
The four tableaux shaping the Third Concerto for organ seem to echo four periods of the history of music. The first one, entitled “Source”, mainly develops the idea of the passacaglia with a simple and modal theme. However, unlike many of my previous works, the various elements that become embedded in the long flow of this ample form and which sometimes bring about a certain agitation, are unable to totally alter the feeling of immutability and serenity evoked by this modal cantus throughout the movement. The second tableau, “Masques”, is short, lively and fluttering, with its almost Vivaldian harmonic sequences, sometimes sinking into darker spheres in clearer bursts of rhythmic energy perpetually renewed.
This is followed by a “Romance”, a kind of song that could have come straight from a waltz of the Second Empire, but from the very start seems to be struggling with its own distorted mirror, a darker and more troubled part that ends by turning this simple and clear melody into a tormented waltz. A kind of nothingness emerges because there is no end to this movement—only a few organ bars that all the thematic material dissolves into, allowing for a final movement in an attempt to restructure itself from this emptiness. Mainly characterized by a meshing of the organ with the two percussions—playing with timbres to explore numerous atmospheres—the material of the fourth tableau, “After the Night”, reconstructs itself in a sort of rhythmic and repetitive popular dance, inevitably caught up in a brusque return to the source of the play, this cantus from the depths, that comes back to distill this feeling of eternity.
Translated by Anne de Fornel
- Antiennes oubliées
- Après l'Aurore
- Choral's Dream
- Comme l’écho d’une fantaisie
- Ground I
- Ground II
- Ground III
- Ground IV
- Ground V
- Ground VI
- Introït à l’Office des ténèbres
- La Ronde
- Le Bal
- Lettres mêlées
- Magic Circus
- Psalmodie à l’Office des ténèbres
- Scènes de bal
- Scènes d'enfant au crépuscule
- Sopra la Folia
- Spring’s Dance
- Tango virtuoso (arr. for clarinets)
- Tango virtuoso
- Tanz-Fantasie trp & organ
- Tanz-Fantasie trp & piano
- Trio américain (“Suppliques”)
- Trois Intermezzi
- Una storia
- Variations gothiques
- Concerto for Clarinet and Orchestra
- Concerto for Organ No. 1
- Concerto for Organ No. 2
- Concerto for Violin and Orchestra
- Concerto for Violin, Oboe and Orchestra
- Concerto for Cello and Orchestra
- Fantaisie concertante
- La Nuit des Chants (Concerto for viola)
- Le Chant des ténèbres (clar. & strings)
- Le Chant des ténèbres (solo sax & 12 sax)
- Miroir d’ombres
- Quatre Visages du temps (Concerto for Organ No. 3)
- Scherzo fantasque