As a professional musician, I traveled extensively and saw many countries and cities that deeply moved, puzzled, charmed or impressed me. The manifold experience is also the source of inspiration that runs throughout these piano etudes.
Some pieces capture the ceaseless frenzy of car and pedestrian traffic through the crowded streets of mega-cities (#2,10 and 12), others evoke the towering heights of skyscrapers (#1). But all reveal the omnipresence of poetry: in the fog enveloping the streets of a city, casting a veil of mystery over its architecture and inhabitants (#11); in the mesmerizing beauty of Chinese lanterns illuminating the urban night sky, sometimes floating aloft like so many wishes (#9); and in the poetic dance of a timeless lighthouse beam sweeping across the wharfs and façades (#9).

This is not a mere collection of musical postcards, but rather a study of the human imprint on a city or a particular place, a reflection on what gives it a soul. The spirit may be jubilatory and festive (#6 & #7), or bursting with the energy of capoeira acrobatics that express the vibrancy and diversity of Brazilian cities (#4), or tragic when the city is reduced to rubbles (#5).

Typically, the purpose of an etude is to focus on particular technical challenges. I wanted to honor and follow that tradition while putting the expression of the musical idea in the foreground.
Some pieces concentrate on specific issues such as hand pattern shifting (#1), repeated notes (#3), different dynamics in the hands (#9), tremolos and the use of the sostenuto pedal (#11).

In homage to the tradition of great classical masters such as Chopin, Scriabin, Rachmaninoff and Debussy, this collection bears an opus number. Yet it also integrates various contemporary influences: anime music, pop and jazz... Some pieces even develop from a quite basic motif evocative of sonic branding or jingles (#2, 3, 4, 10).


In spite of their apparent classicism and multiple influences, these etudes are quite innovative with a strong personal dimension. As an important feature of my work, the concept of Time-its experience and perception-runs through every etude, with the indelible mark of the ticking of a clock or the sweeping motion across the face of a watch. Time thus becomes a musical ‘persona’.

The opening chime-like motif gives #3 its unique, radiant atmosphere, while diverse human moods highlight the passage of time (#2). Bells ring out a tale of the submerged city (#8), and the loud ticking heard in #10 may sometimes evoke a feeling of anxiety. In #9, broken octaves illustrate the simple rotating mechanism of a lighthouse beam of light. On a humorous note, #7 showcases iconic musical references related to specific time-periods.

Every note was carefully chosen, taking into account the acoustic and mechanical specificities of modern pianos. Nothing is left to chance but all technical challenges (and they are real) can be overcome thanks to the numerous possibilities offered by the new generation of instruments.
For as long as I can remember, pianists have always fascinated me, and listening to great virtuosos such as Martha Argerich, Alicia de Larrocha, Vladimir Horowitz, Samson François and Arturo Benedetti Michelangeli was always a thrill.
These etudes are dedicated to twelve pianist friends who inspired me and gave me precious advice. I am immensely grateful to them for that.