Improvisations (Besset, Julian Raoul)

Contents

Performances

Recordings

Chained Rivers 1

MP3 file (audio)
Jurabe (2016/3/8)

MP3 file (audio)
Jurabe (2016/3/8)

MP3 file (audio)
Jurabe (2016/3/8)

MP3 file (audio)
Jurabe (2016/3/8)

Performers Composer
Publisher Info. Julian Raoul Besset
Copyright
Misc. Notes Performed and digitally recorded on a Korg Digital Piano ca.1985.
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Chained Rivers 2

MP3 file (audio)
Jurabe (2016/3/9)

MP3 file (audio)
Jurabe (2016/3/9)

MP3 file (audio)
Jurabe (2016/3/9)

MP3 file (audio)
Jurabe (2016/3/9)

Performers Composer
Publisher Info. Julian Raoul Besset
Copyright
Misc. Notes Performed and digitally recorded on a Korg Digital Piano ca.1985.
Purchase
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Sheet Music

Scores

Chained Rivers 1

PDF typeset by composer
Jurabe (2016/3/8)

PDF typeset by composer
Jurabe (2016/3/8)

PDF typeset by composer
Jurabe (2016/3/8)

PDF typeset by composer
Jurabe (2016/3/8)

Publisher. Info. Julian Raoul Besset
Copyright
Purchase
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PMLP672006-1.Warming Up.pdf

Chained Rivers 2

PDF typeset by composer
Jurabe (2016/3/9)

PDF typeset by composer
Jurabe (2016/3/9)

PDF typeset by composer
Jurabe (2016/3/9)

PDF typeset by composer
Jurabe (2016/3/9)

Publisher. Info. Julian Raoul Besset
Copyright
Purchase
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PMLP672006-Dispersions.pdf
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General Information

Work Title Improvisations
Alternative. Title
Composer Besset, Julian Raoul
Movements/SectionsMov'ts/Sec's 2 sections
Year/Date of CompositionY/D of Comp. Unknown
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation piano

Misc. Comments

  • This page displays a series of improvisations that, contrary those entitled Rumors of Spain, were not realized in one continuous session, but the scores are provided "pour mémoire" (for the record), as they are not directly playable, not being realistic displays of the real time performance. They were played in the same way, and in the same blurry past, on a Korg piano and recorded as midi files with Notator on an Atari, or perhaps, if they were done later, with Emagic on a PC. The initial short piece (no.1) was done much later, as a try-out test of the program Sibelius, which had just been purchased, but was never used afterwards.
  • It may be interesting for the present composer to reflect on some ot the qualities and defects of his extempore outpourings, as if they had been realized extraneously, by a different person, in bygone days. One aspect that stands out is that they are intrinsically flawed by the technical limitations of the performer, especially on the left hand side, which causes a regrettable 2-hand asynchronousness. It may be judged that this defect is counterbalanced by a certain instantaneousness in the pianistic activity which can be characterized in places as 'volcanic'. Among the difficulties of improvising, one may stress 1) the need to memorize the initial theme(s) and rhythm(s), in order to achieve a constructive overall effect, especially as it is not a precalculated construction, and at the same time 2) the need to allow one's inspiration a free rein. The latter ability is more a gift than an acquired skill but in so doing one faces the contradiction of maintaining control of the operation while at the same time relinquishing it for the sake of spontaneity. Like a normal composition, an improvisation has a beginning and an end. It cannot go on for ever. One's imagination must ensure the continuity of the discourse, right up to the uncalculated, but unavoidable, necessary, end. Missed or wrong notes on the other hand, or micro hesitations, can be used as pivots for veeering off, changing directions, which does not work in the same way with a pen and paper composition. Another question remains : why are these improvisations so radically different from the present composer's 'normal' compositions ? In his circle, there are some that prefer his improvisations to his publications. The composer cannot help this. Indeed, his compositional skills, if any, are more influenced by his improvisational ones, than the reverse. The writing down of notes is not like pressing notes down. There is a connexion, but no identity of nature. However, one lesson the regular composer could learn from his improvising self could be the management of silences and ritardandos. The latter can only be adjusted through interpretation, but the former have to be indicated more graphically than is usually the case in the composer's regular scores.
  • Although the composer has confessed at various times and places his aversion for transcribing his improvisations, he has decided to make an exception, in the form of an 'exercise', with a last undisplayed piece of the above series, under the title Wings unfolding, Wings unfolded.