‘Under the title of Signes, the composer put together a suite of pieces for a group

of instruments strongly characterised in terms of timbre, dynamic possibilities

and compass... Each piece endeavours to group with a maximum of concision and
rigour a certain number of “neumes” or melodic and rhythmic figures assembled
according to their affinities or contrasted virtues in pursuit of sound magic.
Rather than a title, each of the pieces would admit in epigraph a graphic symbol
having the value of an archetype, generator of variants or catalysing colour round
its first element. Hence the work’s overall title.’
‘I adopted this title, but afterwards, when the music was completed. I didn’t know
very well what to call it; then it came to mind that perhaps one could imagine
trees, a conversation with trees, in this work... or else imagine portraits of trees,
battered by the wind, in the rain, petrified, or in the night... If one can speak of
ritual, it’s because of this imaginary presence of the tree, of everything it teaches
about slowness, patience and silence, too...’

SUNDOWN DANCES (no. 102) Playing time: 22’

Ballet suite in 8 episodes
" Forces: flute, clarinet, trumpet, trombone, percussion (1 performer), violin,
double bass
Percussion instruments: glockenspiel (or, if lacking: vibraphone), xylophone,
triangle, 2 cymbals (high, low), 1 tam-tam (medium), 1 kettledrum, side drum, 2
bongos, 4 tom-toms, maracas, tambourine, woodblock, claves
! Publisher: Billaudot, 1992
‘You have to approach music fearfully—it is so mysterious. Sometimes you hear
human voices in the combination of certain instruments, sometimes it’s the
opposite. You find that by chance—often afterwards. You can’t provoke it and
even less use it again from one work to another. You have to let these things
come, be a bird-catcher and not a tracker in order to tame the sounds without
killing them. You live in continual uncertainty with the risk that things won’t
happen, but it’s a risk you must take if you are in search of true music.’

II. CONCERTANTE MUSIC

SARABANDE FOR HARPSICHORD AND ORCHESTRA (no. 19)

Playing time: 8’15”
Derived from Sarabande for 2 pianos (no. 6), it was initially intended as the
second movement of a concerto for guitar and orchestra, which would take its
definitive form in 1957, titled Trois Graphiques, to become an isolated
concertante piece.
" Forces: solo harpsichord, orchestra 2.2.2.2, 2.1.0.0, timpani, percussion (1
performer): tam-tam, bass drum, cymbals, strings 8.6.4.4.2
! Publisher: Pierre Noël, taken over by Billaudot, 1997.
‘When people write for the harpsichord, they feel obliged to make bergerettes
and pastourelles. That’s not it at all. The harpsichord is an instrument of fantastic
cruelty and grandeur.’

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