Noir Sur Blanc
Black on White

All five pieces - "Toccata", "Pastorale en Blanc", "Le Son et son Ombre", "Melodie" and "Alternances" - are bound up with the split of the keyboard into two levels. The theoretical meaning of this asymetrical division is of the greatest interest. As all know, simple diatonics can be achieved on the white keys (7 in number), while the remaining 5 present a separate system (pentatonic). There are several works in music literature which deliberately use this division and are confined to a single level (such as the famous etude by Chopin) or use both levels in contrast (bi-tonal, as in Bartok's "Bagatelles" or in passages of his "Microcosmos"). Throughout NOIR SUR BLANC these contrasts serve as the main leading principle. In the "Toccata", the right hand plays on the white keys throughout, while the left plays only on the black except in the middle part, where the hands change levels. A similar contrasting principle governs the work of the hands in what concerns the time: the hands never play together. "Pastorale en Blanc" uses white keys only. No pedal is used in this piece. All sustained notes are held, as in organ, by the fingers. In "Le Son et son Ombre", instead of the contrast of black/white, the contrast is between the 'attacked' tones (those actually played) and the held sounds (which continue to reverberate). In "Melodie" the principle of the first piece returns. In "Alternances" chessboard rules apply: if a certain tone (or chord) is achieved on the white key(s) the one that follows must necessarily be attained on the black key(s). Only in the last two measures some black and white interval mixtures appear. But following each of them the reciprocal chord (turning the white to black and vice versa) sounds. In spite of all the theoretical limitations imposed, the performance of NOIR SUR BLANC demands both expression and temperament. (Composer's note)