Heptasyllabes (Instrumental Ensemble)

The piece opens quietly with a slow and meditative introduction, a first theme consisting of a series of descending chords, with delicate pizzicati in a 'Sicilienne' motif (dotted rhythm) played in stereophony by the celli on the opposite sides. After a crescendo and a small climax, the 3rd cello stands out playing a second theme at a slightly faster tempo Un peu plus de mouvement (Fig.2). The music becomes gradually more agitated and complex contrapuntally. The two groups of violoncellos (left and right) are playing alternatively with some incursions of the soloist (from Fig. 4) before reaching a climax in tutti (Fig. 8), leaving the way to a short cadenza of the soloist. The initial tempo returns and after another culmination fff comes a slower passage, where the second theme is played rubato by the celli 4 & 5 (Fig.10). The music develops a bit faster with more and more passion en avançant (Fig. 11) to reach a brief halt followed by an accelerating transition (Fig.12) to the new section Énergique. This rhythmical passage is using the two choruses distinctively who play a third theme in echo with some effects such as ponticello (distorted sound playing on the bridge) and pizzicati. After the soloist's entrance (Fig.15) repeating this long syncopated third theme with the others in accompaniment, begins a dance on an ostinato (Fig.16) on top of which the soloist improvises a long variation which culminates with the return of the third theme (Fig.20) played by the two choruses in unison. The soloist joins in this recapitulation and begins a frantic walking bass inspired by Bebop (Fig.22) Vite et enjoué (fast and joyful), introducing a fourth theme played by the others (Fig.23), also very much in a Jazzy mood. In this final section, the two choruses are playing in echo but also in tutti, alternating pizzicati and bowing effects in a general frenzy. After a series of improvisation-like solos, the music comes to its loudest culmination (Fig.33). The first theme reappears combined with the second in the quiet and meditative mood of the beginning (Fig.34, Tempo I). The music slows down, becoming more nostalgic and expressive, quasi post-romantic (Fig.35) before reaching a coda in D major (the key of the beginning of the piece), with the soloist playing a final variation of the second theme, with little echoes from all the other musicians (Fig.36). After a slow arpeggio of the soloist landing on a top-F#, the piece ends with all the other cellists playing the pizzicato motif of the beginning in unison. - Richard Dubugnon, Rantigny, France, March 2020

 

Duration: 15 minutes