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“Orchésographie” was written from 2008 to 2012. It is dedicated to Pascale ROUET.
Most of my previous organ music is decidedly somber and rather serious, betraying an anguished frame of mind. To offset this I began working on a cycle of more intimate works with a hint of optimism, showing freshness of inspiration and a degree of nostalgic serenity. I have freely taken inspiration from dance-styles of the Renaissance which I particularly enjoy playing on the organ, and have tried to recreate their character, which happens to fit in very well with this project.
I have borrowed the fine original title “Orchésographie”, chosen by Canon Jehan Tabourot in 1589 for his “Treatise in the form of a dialogue by means of which all may easily learn and practice the honest art of dancing”. The treatise appeared under the pen-name of Thoinot Arbeau, an anagram of the Canon’s own name.
The cycle is particularly adapted for an early instrument. As far as I am concerned, my “language” as a composer remains unaffected by the style of an early instrument. In my music there is no “grammatical” restriction the meaning and coherence of which are likely to be affected by questions of temperament and differences in pitch. I would even go so far as to say that the “harmonic character” of my music is enhanced by both these aspects. Furthermore, my music often claims a degree of affinity with early music (relatively short duration of each piece, almost no changes in registration, moderate difficulty, essentially abstract character, rejection of complex harmonic structures in favour of ornamental melodic lines). It is quite possible to perform my music on modern organs without making any difference to its overall tonal cohesion, but I do find that they tend to lack the rustic character of early instruments.
I. Estampie 3’ 25''
II. Basse Danse 4’ 25''
III. Saltarello 3’
IV. Pavane 4’
V. Gaillarde 5’
