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Aquesta peça, escrita l’any 1968, va néixer a partir del treball apassionant i intens que feia en aquells temps amb el gran i admirat Olivier Messiaen i també enmig de la famosa revolta social, cultural i històrica del jovent en un París efervescent. L’obra, una suite de tres moviments (d’on surt el títol, Seguit), la vaig concebre justament per ser interpretada en una de les proves del Concurs Internacional de Piano O. Messiaen que es va celebrar a Royan (França) el maig d’aquell mateix any 1968. Dificultats de gran nivell estan, doncs, previstes en l’entrellaçament del discurs musical. Les dificultats són de caire divers i destaquen, sobretot, les que fan referència a salts considerables i també a l’elaboració dels diferents i contrastats plans sonors que requereix l’execució. El primer i segon moviments estan impregnats conscientment d’un clima messianesc. El darrer temps, de gran vivacitat i amb elements incisius i alegres, conclou l’obra deixant-se anar com una dansa entre burlesca i trepidant.
This piece, written in 1968, was born to the intense and exciting work I did at the time with the greatly admired Olivier Messiaen, also, within that beautiful social, cultural
and historical youth revolt in bubbling Paris. A three-piece suite (from which stems its title, Seguit - on the trot), I wrote this work to be interpreted in one of the tests in
the International Piano Contest O. Messaien, celebrated in Royan (France) in May that same year. High level difficulties ara, hence, to be expected in the intertwining musical discourse. This difficulties are of diverse nature. Those referring to major jumps and to the elaboration of different and contrasting sonic planes required in the execution ought to be carefully looked upon. The first and second movements are purposefully imbued with a messianic atmosphere. The last - of a great vivacity and including incisive, cheerful elements - concludes the piece, letting go as a burlesque-to-frenetic dance.
Antoni Besses
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