The main idea of the piece is Kandinsky’s painting “Two complexes”. The desire was to structure my piece and build my musical materials according to a visual work.

What interested me in Kandinsky is his pictorial grammar. It analyzes three elements: the point, the line and the curve. These three elements are very musical.

The point is a cluster. It has a concentric tension and has no tendency to move. It is a static, compact sound object.

The line is born of movement, it is dynamic. With the point, it has in common the tension but with in addition the specificity of the movement.

And then I added the appogiatures for the flashes as well as accelerando and descelerando which represented, for me, the movement of circles.

Complexes, an early opus composed a decade ago, we already consider the richness of a language to come! (Jacques Freschel)

press quote

An amazing experience – Zibeline – August 2014

What a strange adventure we live at La Chèvrerie Honnore for a concert ! It is in the heart of this farm in Lançon-Provence grew a young gifted for music. Jeremie Honoré planted himself in a hut, between chickens and goats, to lengthen his ranges to length of keyboard. Having become great and virtuoso to the instrument, he imagines a festival that is at least original, since it brings together the most exquisite of the chamber music to the bleating of the beasts, the cackling of the poultry … These, in fact, continue to live their life, in the fragrant semi-detached barn, open to the public. And my faith! Even when a bovid slams arched horns above his manger, demonstrating, as we imagine, some reluctance to the asymmetrical rhythms of Bucolic pieces for viola and cello by Lutoslawski.
Paradoxically, silence comes when François Charpentier (clarinet), Sarah Sultan (cello) and Pierre-Kaloyan Atanassov (piano) approach a modern opus by Lionel Ginoux (born 1978), guest composer of the 2014 festival. Upon agreement voluntarily disturbed by an alloy of false unison, biquette freezes to listen to the sound material rebounded, its polar notes iterative, its trills, range by tone, effect of sounds “col legno” (with the wood of the bow) Its structure in crescendo followed by a kind of lullaby around a minimal harmonic material : in Complexes, an early opus composed a decade ago, we already consider the richness of a language to come!

Jacques Freschel