MOVING
for musette, viola and piano (2005-06 / revised 2015)
Rapidity and density of thought, unmediated directness, a hypersensitivity in which everything 'registers' ; Moving explores the point at which delicacy turns into nervousness, sensitivity into violence. The impetus for the music's continuation is provided by a series of sudden and violent interjections, which seem to point to something beyond the limits of what the discourse can productively contain. This violent element at once propels the piece forward and makes it impossible to continue, a conflict which intensifies as the piece progresses.
The agitated, nervous character of the piece is reflected in its unusual instrumentation. The rarely-heard piccolo oboe, with its thin but penetrating tone, is called upon not so much for rapid articulation and virtuoso passage work, but rather for its ability to change character rapidly, moving from sudden, strident outbursts to placid explorations of single notes, to high, lyrical ruminations. The viola and piano, far from being supporting characters in the drama, provide respectively a skittish nervousness and weighty violence, when necessary.
MOVING
pour musette, alto et piano (2005-06 / révision 2015)
Rapidité et densité de la pensée, une certaine violence dans l’expression, une hypersensibilité dans laquelle rien n’échappe à la perception—Moving occupe le point de rencontre de la délicatesse et de la névrosité ; de la sensibilité et de la violence. Une série d’interjections soudaines et violentes fait avancer la musique, et semble pointer au-delà des limites de ce que le discours peut convenablement accommoder. Cet aspect violent sert à la fois à propulser la pièce, et aussi à rendre problématique sa continuation, conflit qui s’intensifie au fur et à mesure que la pièce progresse.