I - Intrada

 

​The first movement, Intrada, follows the pure tradition of overtures and fanfares, which can be found both in lyrical works and during ceremonial festivities, such as the openings of sporting events. The musical language is inspired by John Williams while paying homage to Bartók. The structure of the piece, a nod to Bartók's Concerto for Orchestra, features a succession of variations by section: after the opening, the woodwinds take the lead, followed by the brass and percussion, before the opening fanfare returns in a final tutti. This approach mirrors Bartók's method of giving each section of the orchestra its moment to shine.

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II - Nocturne

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Nocturne evokes the language of French music and the appreciation for harmonic colors. Debussy is the composer who particularly inspires this movement, especially through the harmonic shifts present in the middle of the piece. The choice to include a flute cadenza also aligns with this tradition, an instrument that French composers have consistently highlighted, notably Debussy with his piece Syrinx and especially the famous flute solo in Prélude à l'après-midi d'un faune.

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III - Divertissement

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This movement is the most jovial of all. The theme, deliberately simple and very easy to identify, is supported by the key of C major, which imparts a lightness that is almost popular. The influences here oscillate between Gershwin, with his An American in Paris, whose theme is also disarmingly simple, and Poulenc, with his geniality, lightness, and joie de vivre. The simplicity of the theme allows for the development of complex harmonies, and the theme is never repeated with the same orchestration or harmonies. The musical form of this movement, a nod to the past, is that of a rondo.

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IV - Valse Mélancolique

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The waltz, one of the oldest musical forms, naturally found its place in these Cinq Humeurs. This movement pays tribute both to the popular musette waltzes and, more subtly, to La Valse by Ravel's with its crescendo, ferocity, and transformations. However, here, the intention is more modest, both in terms of aggression and harmonic development.

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V - Presto

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The final movement, exhilarating and vertiginous, is nonetheless built on an extremely simple three-note motif. It pays tribute to the explosive finales found in Shostakovich's music. The composer here blends two seemingly distant influences: on one hand, the dramatic intensity of Shostakovich, and on the other, the lyricism and characteristic harmonies of John Williams in the second theme of this movement. The communicative energy of this movement is particularly thrilling for the audience.