Organ pieces: The titles Fantasy & Fugue, Prelude & Fugue, Toccata & Fugue, Pastorale, Trio Sonata… make no secret of the reference to J.-S. Bach’s works. It is because he, encouraged in his youth by the elder Reinken – who was happy to see that his art would not die along with him - magnified through his organ works a tradition come down from the Northern school, which he led to a degree of absolute perfection.
But rather than considering that this Opus for organ was the crowning glory of a «language» that could have been used until the end of time, it seems that the later generations of composers hastened to move away from it… certainly in the interest of their greater happiness.
But a composer born after 4’33’’ (of silence!) could not have the same attitude, the quest for modernity having lost all its attraction. It is therefore towards the jubilation of this « pure language » that our post-modern composer can be tempted to turn. He most thus rely on the sole generating power of his own musical ideas in order to avoid falling into the trap of a stylistic study.
He must exercise the privilege of acting «after the fact» in the history of tonality, above all not giving up on any of the singularities that his ideas carry. The composer’s purpose here is not to make one believe in the reality of an 18th century work, but rather like a gardener, to nurture the growth of his original themes and subjects in this same spirit.