A. de F.: Which aspects of your current musical language do you draw on in this trio structured in one movement? G. F.: I do not have a “pre-determined system” (tonal, dodecaphonic, serial, etc.). I often work with an ascending or descending chromaticism, systematic or non-systematic; a chord or an aggregate moves toward another one as if “magnetized”. From 1979-1995, my musical language incorporated juxtapositions of tempi in quite a systematic manner. However, a turning point took place with Concerto for piano and orchestra (1997) whereby even if classified harmonies can be identified, they become “gigantic” harmonies (aggregates) as they are juxtaposed. I also had the idea of exploiting a very romantic piano through a contemporary language. The pieces that followed were a continuation of this work, as is the case of Crossing the Line. In terms of form, this trio is close to a fantasy with its distinct atmospheres: sometimes suspended, sometimes very “jazzy”, especially at the end.
A. de F.: Crossing the Line was written for the Trio Empreinte, but also dedicated to the three musicians. Can you speak of the collaboration that subsequently emerged?G. F.: First of all, we got along very well together. The preliminary exchanges on the work involving rests, the blend of sounds, and balance were quite important. I was in charge of the artistic direction of my trio’s recording, which allowed us to refine or change dynamics, articulations, and pedals. I paid very special attention to sound restitution as I wanted it to be as faithful as possible to the real sonority of the Trio Empreinte. There is a genuine unity among these three wonderful musicians. A magnificent collaboration!
A. de F.: Crossing the Line is also the first work written after the death of your husband, Gilbert Lévy. Did this original piece take on special meaning for you? G. F.: Indeed, it was composed at a very painful time of my life when I had difficulty writing. Moreover, I have pointed out that I had included a large number of descending chromaticisms in this work that evokes this sadness. In some ways, it was basically a desperate gesture, but it led me to get beyond myself. I had the impression I was pushing back my own limits.
Fantaisie Toccata - Graciane Finzi
Crossing the Line
Short Stories - Graciane Finzi