Reprises (Besset, Julian Raoul)
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The new version processed with Pianoteq (Blüthner Concert Recording BA)
2011 : After the discovery of his original manuscripts, the composer feels the score is actually incomplete, and will have to be amended !
2014 : the previous amendments have in turn been '(a)mended'...
Scans of some of the original compositions for this page, entitled "Préludes", and a rare instance of there being an attached date to them. Not everything here has been retained.
This piece is a supplement based on "Prelude N°2" as it appears on the adjoining manuscript scans. Initially, this piece had not been "revisited", like its companions, it being the weakest of the set. I have tried again, but have felt constrained to discard most of its stammering discourse, except the opening chords, and some rhythmic cells.
|Alternative Title||Rejuvenated Bagatelles|
|Composer||Besset, Julian Raoul|
|Year/Date of Composition||September 1957, rev.2003, 2011, 2014 & 2013 for the supplement|
|Composer Time Period||Modern|
Three early compositions for the piano (juvenilia), whose crude parts have been preserved, with more "mature" meddlings. On the other hand, as explained above, the short supplementary piece retains practically nothing of its predecessor.
Regarding the main work, the composer's latest (2014) finickinesses (refinements?), like the companion piece "Afterthoughts" involve extensive editing and occasional additions or "corrections" that might be termed "remorses". The overall effect of these three retitled pieces can be seen as an improvement especially as the "crude parts" have been, effectively it is hoped, shoved aside. The new titles derive from objective or subjective criteria. The closing section of the third piece (a funeral march whose title derisively derives from an old BBC comedy show) was composed in a brace of shakes during a head scratching interlude when trying to get the thing done and was stuck on as an afterthought, like salt being added to make the brew more palatable (thus the subtitle : Lot's Lot). The opening measures of the first piece are harmonically and rhythmically lopsided, thus justifying its new title, as for the middle piece the focus is on the time span between its initial incompleteness and it current spatiotemporal stasis (pardon the bombast).