Creux is the French word for the trough of a wave, the downward dip between crests. It can also mean “hollow.” The central image of the piece is a wide shot of the sea, a static plane with minute localized oscillations. Without the swell of crescendi, the action depends on short snippets of modal lines or soft polyrhythmic patterns that coalesce in textures of varying density. A series of interwoven duets, all based on the same microtonal mode, is underscored by metallic harmonies inspired by the blades of the mbira and the Fender Rhodes. Rather than large-scale drama, the focus is on tuning and sonority — prepared and retuned strings, a microtonal melodica, a seamless layer of sound provided by the electronics, composed of samples and field recordings, sometimes interacting dynamically with live instruments, all conspiring to create an atmosphere of directionless meandering, subtle shifts of color on a flat seascape.
The evolution of the piece revolves around a series of intertwined duets in the same microtonal mode, underscored by harmonies inspired by the resonance of the blades of the mbira* and Fender Rhodes**, to create an atmosphere without directionality, without overall drama… ”
*Sub-Saharan African musical instrument, idiophone and lamellophone, composed of a wooden support on which are fixed metal strips of various shapes and sizes.
**A piano of 73 or 88 keys, manufactured from 1969 to 1975, composed of wooden hammers whose striking end is covered with felt.

Christopher Trapani, as was the case for the last movement of my Piano Sonata… “(Igor Stravinsky).

Titles of the parts

I ] Sinfonia: Lento, Allegro moderato

II] Tema con variazioni

III] Finale: tempo giusto