Déchant; V-Hymne

! Publisher: Jobert, 1973.

‘Here, the scale in thirds of tones creates the work’s melodic and harmonic
atmosphere.’
‘It is the strings, as much as the human voice and percussion, which, among the
non-electronic media of expression, offer the greatest possibilities for exploring
the sound universe included between the notes of the tempered scale.’

DEUXIÈME QUATUOR À CORDES (n° 85) Playing time: 20’

4 movements: I-Sagittaire; II-Mood; III-Alborada; IV-Faran-Ngô
! Publisher: Jobert, 1980.
‘The Second Quartet is dedicated to composer Edith Canat de Chizy. The work
in its entirety breaks with the usual rhetoric of the string quartet, which tends to
speculate on ideas and their contrapuntal exploitation. One might place it rather
in the sound universe of works by Debussy, Ravel or, more rarely, Bartók, in a
freedom of forms already sensed by Beethoven in his late quartets.’

KYPRIS (no. 94) Playing time: approx. 11’

for oboe, piano, viola, double bass
! Publisher: Jobert, 1988.
‘I have a memory that engages, without break and without boundaries, with a
certain form of imagination. I’m also persuaded that I have lived during
extremely distant times. I saw things to which my music bears witness.
Understand who may. I, in any case, don’t understand!’

TROISIÈME QUATUOR À CORDES Sorgin-Ngô (no. 101) Playing time: 23’

! Publisher: Billaudot, 1995
‘The Third Quartet is written all in one piece. The fast movements alternate in
rejoinders suggesting variations. Rhythms and melodic turns from classic jazz are
identifiable here, as are certain allusions to Basque rhythmic patterns; hence the
sub-title Sorgin-Ngô or “spell of the earth”, in this language of the country where
the work was, in large part, written and finished.’

Six instrumentalists

QUATRE ÉTUDES CHORÉGRAPHIQUES (no. 30) Playing time: 18’

Ballet for ensemble of 6 percussionists
Instrumentation:
I: 4 Chinese cymbals (approximately F sharp, F natural, D, C), triangle,
suspended crotales, 2 suspended cymbals (low, high), 1 tam-tam (medium), 7
Thai gongs (G flat, B flat, C, E flat, B flat, D flat, E), anvil, low woodblock, high
m’tumba
II: 4 tom-toms (B flat, F, E, B natural), snare drum, snareless side drum, military
drum, 3 temple blocks (low, medium, high)
III: snareless side drum, low bass drum, low maracas, 4 tom-toms (B flat, E, D, B
natural), low suspended cymbal
IV: xylophone, vibraphone, 2 high cymbals (two-handed), crotales (A, B, C, B
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