|Composition Year||Vol.1 : 2014 Vol.2 : 2018|
|Genre Categories||Country dances; Dances; For organ; Scores featuring the organ; For 1 player|
|Composer||Besset, Julian Raoul|
|I-Catalogue NumberI-Cat. No.||IJB 12|
|Movements/SectionsMov'ts/Sec's||Vol.1 : 3 sections Vol.2 : 3 sections
|Year/Date of CompositionY/D of Comp.||Vol.1 : 2014 Vol.2 : 2018|
|Composer Time PeriodComp. Period||Modern|
Introduction to the first number, originally entitled Plinth :
This general title is meant to house (or harbour, as for a drifting vessel) those works that were composed offhand as it were when concentrating on another work, from which emerged, as a respite, a secondary composition. Thus, the first piece in this series, for the organ, was commenced and terminated in two days when putting the finishing touches to another piece not yet added : "Exultation", itself derived from the choral piece : "Extase" for which a number of arrangements exist already, the difference being that the theme used in this other piece was played desultorily on the organ keyboard, without referring to the composition that was being worked upon just before, after which it expanded, as if it contained a life of its own. After some hesitation, the term 'Slivers' is used for such pieces, for there will be others, as sure as fate, of the same water. The first piece is entitled "Plinth", a word that was suggested by the French term "Plinthe", meaning baseboard. Not exactly the meaning of 'plinth', but as is often the case with this composer, the titles are used euphonically. The French word is more suggestive than the English plinth with its purely architectural connotation since is evokes the word 'plainte' (woe, complaint). However the first piece is hardly plaintive in style, but is a curious work in that it starts out in a neo-classical way and changes style completely in the middle as if a cinema organ had barged in. By a bizarre twist the piece then veers off course until the staid strain reestablishes itself up to its jarring fortissimo consonant conclusion.
Additional comment :
As is intimated above, two pieces, in the same vein, have been added. The general title has been changed and the three pieces now bear the rather colourless but promising designation : Volume 1. 2014/12/1 (first draft); 2015/11/30 (2 pieces added). Although the term 'contredanses' is akin to 'country dances', it has in this case no relation. Volume 2, a shorter work in the same style, was added in February 2019.