State commission for the ensemble le concert impromptu and pianist Bruno Belthoise.

Created at the Calouste Gulbenkian cultural center in Paris, October 28, 2004 by the dedicatees.

Duration: approximately 14'. Editions Francois Dhalmann

This work, intended to be performed within the framework of a Franco-Portuguese project, is placed under the aegis of the artistic and romantic relationship of Vieira da Silva and René Char: its subtitle les identities remarkables reflects this.

This suite of 7 pieces is the extension – almost orchestral – of some of the potentialities contained in my work for piano Les Instantanés (1st notebook). Each of the pieces is characterized by its own patterns and modes of play. Although the formal coherence is ensured by a work of variation/recapitulation of the motifs which cross the work from one end to the other, this suite is not a set of variations in the classic sense of the term but rather variants.

Like René Char writing nine thanks to Viera da Silva, I wrote “seven thanks” which are less impressions resulting from paintings than facets of the artistic thought of the two artists: network of intersecting lines… radiance of fluid matter… pale harmonies… incantatory lyricism in the most diverse forms…

Tips for instrumentalists

Each piece involves different musical gestures, precise, incisive, with varied articulations. The interpretation requires great suppleness and flexibility at the agogic level so that the music “breathes” beyond the refinement of the “lace” writing of the motifs and their often unexpected sequences and juxtapositions.

All the pieces form a whole, the sequences from one piece to another are indicated on the score: direct sequence between I and II then between II and III - silence between III and IV - suspensive resonance between IV and V – direct sequence between V and VI – suspensive resonance between VI and VII – direct sequence between VII and the concluding reprise of I.

It is possibly possible to establish a route other than that proposed here, or for reasons of program length, to select only some of them and play them - why not - in another order. On the other hand, it is essential to start with the first piece and conclude with its repeat.

In an educational context, it is possible to play them separately.