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| | |  When this Tagore poem was submitted to me for setting to music, it immediately seemed to me that the main challenge would be to find another "driving force" than the pure sound of words. As for a translation, the sequence of syllables did not seem to to contain in itself a music. Slowly, as the work of composition unfolded, all the power of this deep-rooted poem was revealed beyond the mere sound of the words, which led me to build the musical piece as one great momentum. of impatient tension. I express the wish that the joy and the abundance of emotions that I felt throughout the writing process can be received, perceived and transmitted to both the performers and the listeners. This piece is dedicated to the memory of my friend Clément Esposito; the remembrance of his young and happy face and the hypothetical advice he would have given me accompanied me throughout this work. Dominic FARICIER |
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| | |  Guillaume Costeley (1531-1606) has in common with Clément Janequin (v.1485-1558), exception of three motets, to have provided only secular music. Musically, it is related to the style and research of his illustrious predecessor."Le jeu, le rire, le passetemps", published in 1570 in his collection Music is a typical example: short and imitation motifs that alternate with more homophonic passages, a use of chromaticism unheard of at the time as the interval do-sharp-bec from the measure 3 and especially a light text in the Rabelaisian tradition ... All the ingredients of the elegance and lyricism of the French song in the second half of the 16th century. |
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