Pluie, larmes de la Terre

Pluie, larmes de la Terre (Rain, Earth's Tears) is a piece for horn and piano. White we all feel the strain oj the current pandemic-related forced isolation, the crisis also prompts us ta refocus on essentials. My own need ta reconnect with Nature was stronger than ever and I realized with even greater intensity that our relationship with Nature was invaluable. As I started working on this piece, I was deeply concerned with the impact of climate change. The horn is - symbolically - associated with magical powers. The piano evokes the sound of water, the music of Debussy ... I had the feeling that protecting nature from human-induced destruction could do with a little magic twist. Combining the two instruments gave me an opportunity ta explore new sounds that would enable me ta express my fears. The Earth shall weep ... Two images haunted me throughout the compositional process, respective/y inspiring the two sections of the piece: raindrops and Earth 's tears. At the beginning, fragile sonorities create a mysterious atmosphere. Intense clusters in the low register generate an eerie soundscape in sharp contrast with subtle, luminous harmonies that represent hope. Little by little, the piano unfolds a flowing motif The horn plays the seminal motif of the piece in a husky, veiled manner. The fluid sonority of the piano gradually fills up the soundscape but fast horn passages constant/y interrupt its mellow chords. Now a regular downpour, rain progressive/y becomes more acid. Bath instruments play in the lower register, resulting in a gentle purring sound, as if Earth was trying ta warn us. As raindrops fall after an unsteady rhythmic pattern, the previous fluid motifs gradually become more incisive. At last, rain abates, revealing an empty and desolate landscape. The horn sings a melancholy reminder of the opening motif The piano plays Just a few notes like sa many raindrops (or tears?) then reverts ta its initial sound texture. Suspending time one last time white Earth awaits a glimmer of hope. There is a certain sadness that pervades the piece and creates a particular atmosphere emphasized by the use of various specific playing modes. Singing notes in the horn 's low register sound like the throbbing heart of our suffering planet Earth whereas half-stopped notes or the not quite peifect pitch of the natural harmonie series recall Natures precious impeifections. Muffled tones in the high register characterize the timbra! texture of the prepared piano. The medium and lower registers are also frequently used throughout the piece. As an individual, one often feels powerless against the destruction of sa many life forms on our planet, yet 1 firmly believe that we, artists, musicians, singers, writers, have a collective responsibility ta convey this message and raise awareness. We live on a beautiful planet and we should all take care of it. The piece is dedicated ta my musician friends Alexandre Collard and Nicolas Rayez and their children Anatole and Nine. Camille Pépin