Minimal Harp (2012) consists of three very contrasting movements. The first one is very lively and is based on an endlessly repeated figure that will evolve first of all thanks to the bass notes whose changes will generate different harmonic colours. Then, after a sudden change of mode, this same motif is superimposed with itself in retrograde movement, i.e. the notes are played not from left to right but from right to left. Several modulations reinforced by an increasingly dense rhythmic pattern increase the tension until the conclusion.

The second movement is in ABA form. A pedal note in the bass (D flat) runs through all three parts. ABA’ is bathed in a meditative atmosphere based on two short cells and a very fast rhythmic figure. Here the composer exploits a specific playing technique of the diatonic harp: using the enharmonies made possible by the particular tuning of the pedals to obtain defective glissandi. Certain sounds duplicated in this way create a unique sound effect. B then exploits the same material, but in a more passionate and dramatic way until A’, a brief reminder of A, the two main cells being played in harmonics, like a nostalgic memory of the beginning of the movement, with the fast rhythmic figure emerging abruptly at the very end.

The third and final movement accumulates numerous rhythmic cells which, by proliferating, lead to the brilliant final conclusion.

World Premiere on 5 June 2012 in the Hopital Robert Debré (Paris, France) by Anaelle Tourret.