These Trois solos do not require a page turner nor registrant and are of intermediate technical difficulty. Although conceived for a French classical organ of mesotonic temperament, they can equally well be played on instruments of different style and temperament (German baroque organ, Symphonic organ, etc.). It is important that the acoustics of the performance venue be quite resonant.
The classical French organ is an instrument that ?sings'. 17th and 18th century repertoire aims to highlight solo stops such as the Trumpet, Cromorne, Tierce etc. These characteristics, together with the limitations of unequal temperament, led me to compose these 21st century solo pieces which alternate between the vocal and instrumental. ?Single voice? composition allows the use of the resources of modern day musical language on a period instrument.
Here the organ resembles the flute (the 1st solo), an orchestral reed instrument (2nd solo) and the guitar or violin (3rd solo). The compositional techniques involve mostly circular melodies and reflecting modes introduced in Cercles Réfléchissants'.
The proposed registrations can be re-adapted almost completely according to the characteristics of each organ. However, it is important that the Nazard be of a fluty tone colour (1st and 3rd solos). An alternative registration is provided for the 2nd solo in the event of drier acoustics. .
C 1 to C 5 (49 notes) for the 1st and 2nd solos C 1 to D 5 (51 notes) for the 3rd solo
means repeat the previous bar. means repeat the 2 preceding bars.
. Trills should commence on the principal note unless indicated otherwise.
. Legato marks do not necessarily call for legato and the player may adopt a refined and articulated touch.