||Sonate pour Orgue no.2
||Besset, Julian Raoul
|Year/Date of CompositionY/D of Comp.
|Composer Time PeriodComp. Period
One of the composer's most complex endeavours, this work is an attempt to exemplify the perhaps still valid notion of so-called progressive tonality. Despite his disdain for systems, the main motifs are not only systematically restated at a higher pitch, they are slightly modified in the process, as if each one was but an aleatory or reflexive expostulation. This propensity makes the work harder to get to grips with, from a technical point of view, but corresponds to the composer's dread of monotony. As is usual with this composer's other works, it will have to run the gauntlet of successive revisions, in order to correct errors, slips, software limitations or supposed enhancements (Finale 2014). A few ossias are superimposed, which may be sifted in the revisions or selected by those brave enough (unlike the composer) to perform this demanding work in its entirety.
The title for the first movement Etirements (Stretches) is due to the wide left hand span required in the slow passages. At one point, the feet take over, in other places hand or finger cheating, if necessary, will have to be resorted to. The reason for the second, Piétinements (Stamping) is obvious. The third was intended at first as a scherzo but a more evocative title : Babillages (Prattling) was eventually preferred. Suspensions is a slow mid-air movement, while the last : Ressauts (Rebounds) concludes the work with sudden bursts of doubt and exuberance.
Latest revision : 19nov2013