Féeries Op. 153

Féeries, Op. 153 is a suite of six short pieces for solo piano, composed in 1971, which invites the listener into an imaginative realm populated by legendary beings. Each miniature bears the name of a mythical or folkloric creature—some drawn from Celtic traditions, others from Greek mythology: Lutins (mischievous goblin-like spirits), Elfes (graceful winged beings), Korrigans (wily Breton sprites), Néréides (marine nymphs), Choephores (the libation bearers of ancient Greek ritual, evoking here a solemn procession), and Farfadets (small, elusive figures from French folklore). Though each piece is self-contained, together they form a coherent suite akin to a fantastical sketchbook, rich in character and atmosphere.

Absil demonstrates considerable versatility in his pianistic writing, tailoring his musical language to capture the essence of each being. Lutins is a brisk, staccato scherzo, full of unexpected leaps; Elfes sparkles with delicate, rapid figurations in the upper register; and Néréides unfolds in gentle, flowing arpeggios reminiscent of the sea’s movement. In contrast, Choephores is solemn and processional, with heavy, ritualistic chords, while Farfadets concludes the cycle with an animated, dance-like energy. Harmonically, the suite remains rooted in modality, enriched with impressionistic hues—particularly in Elfes, which calls to mind certain Préludes by Debussy—yet it also maintains a structural clarity reminiscent of classical forms. The prevailing tone is one of light neo-impressionism, laced with whimsical touches, placing Absil’s contrapuntal and rhythmic skill at the service of vivid imagery rather than abstraction.

Composed during the final phase of Absil’s career, Féeries aligns with his broader output of pedagogical and descriptive piano works, such as Poésie et vélocité (1972). Intended perhaps for accomplished young pianists, the pieces are of moderate to advanced difficulty. The suite was likely first performed in Brussels shortly after its completion—possibly during a competition or audition at the Conservatoire in 1972—and was met with favourable reception. Critics lauded its charm and the precision of its musical portraits. Long overshadowed, these works have begun to resurface as part of a renewed interest in Belgium’s musical heritage, with pianists incorporating them into programmes exploring the fantastical in music. Though a complete recording was still lacking in the early 2000s, the cycle has attracted growing musicological attention as a refined and imaginative closing chapter in Absil’s compositional journey.