Figures en demi-teinte (2026)

for 2 pianos

Commissioned by Fondation Royaumont

Dédication to Wilhem Latchoumia and Ninon Hannecart-Ségal

Performers: Ninon Hannecart-Ségal (piano) & Wilhem Latchoumia (piano)

Premiere: 03/15/2026, Abbaye de Royaumont (France)

Duration approx. 15 min.

Publisher: Lacroch'

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« Between 1970 and 1976, Henri Dutilleux composed his famous cycle of four Figures of Resonance for pianists Geneviève Joy and Jacqueline Robin, a cycle that followed an earlier work for solo piano (Résonances, from 1962). This cycle was intended to be extended by a second set of pieces, mentioned in the preface of the first edition published by Heugel, which the composer ultimately never wrote. Deeply influenced in my early creative years by the work of the French composer and by this cycle in particular, I wanted, in a way, to continue Dutilleux's unfinished project by offering my own interpretation of these figures, in a more contemporary development (playing not only with the various resonances of the classical piano, but also slightly distorting its timbre and pitch, and blending the resulting sonorities in a hybrid pianistic gesture that is the main subject of my compositional research). In order not to consider myself on the same level as my illustrious predecessor, I chose to propose only three figures, the third being abruptly stopped before completion, and before a sound volume too present could be established (the title of my figures evoking the shadows and indistinct contours of the penumbra that Dutilleux liked, playing in a zone between the inaudible and the mezzopiano).

Jeux en filigranes (2024)

Album "Filigranes" - Label INITIALE (2025)

Commissioned by trio Arkayī and CNSMDP

Instrumentation : violin, cello, meta-piano and electronics 

(Meta-piano = hybrid system combining an electronic device with the acoustic structure of a traditional piano)

Performers : trio Arkayī

Reika Sato, violin

Yi Zhou, cello

Arhzel Rouxel, meta-piano

François Longo, computer music designer

Premiere : 09/26/2025

at Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP)

Duration : 13'30 ca.

Editeur : Lacroch'

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« Ces jeux étaient de petits drames, presque exclusivement monologues, et ils reflétaient la vie spirituelle de leur auteur, aussi éprouvée que lumineuse, comme un parfait portrait, peint par lui-même. Il y avait là, non seulement un concert dialectique et un conflit entre les différents thèmes et groupes de thèmes, sur lesquels reposait le Jeu et dont la succession et l’opposition étaient fort ingénieuses, mais la synthèse et l’harmonisation des voix contrastées n’étaient pas conduites à la manière courante et classique jusque’à leur terme final ; cette harmonisation subissait plutôt toute une série de fractures et s’arrêtait chaque fois, comme prise de fatigue ou de désespoir, avant de se résoudre ; elle se perdait dans l’interrogation et le doute. » (excerpt from Le jeu des perles de Verres by Hermann Hesse in the French translation by J. Martin). This singular work, of which Thomas Mann appreciated the discreet irony and parodic tone, has always fascinated me, just like its author who wrote it in the middle of the Second World War, then exiled in Switzerland and banned from publishing in Germany, his country. native. In its complexity, and at the same time its synthetic vision of a utopian society whose ideal would be this famous "Game", the culmination of all culture, this work would be for me the poetic starting point of a musical composition made on fragile, moving materials, and at the same time precisely organized in a form articulated according to a "progression made of fractures", a form which could offer a counterpart to the very finely chiseled textures of Osja - 7 Stanzas for a Literary Drone by Marco Stroppa. This “mobility” of the musical material will also be highlighted by the instrumentarium, because with the violin and cello my “Méta-piano” will interact. It’s an hybrid instrument (augmented by transducers broadcasting sounds or electronic treatments directly via the table harmony, with second digital keyboard) thus allowing a real-time mutation or deformation of the timbres and the traditional acoustic space of the chamber formation.

Baiser volé (2024)

for violin and piano

Commissioned by Minkyung Oh and Rivers School Conservatory

Premiere 04/08/2026

at Conservatoire Henri Dutilleux (Clamart - France)

Performers : Duo Gaïtis

Mathilde Lauridon, violin

Matvey Zheleznyakov, piano

Duration : 4' ca.

Editeur : Lacroch'

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A virtuoso piece conceived as a concert bis, the title refers to the obstinate lines of the pianist's two hands crossing those of the violin, with a few fleeting as well as passionate meeting points.

Fragrances (2015-2024)

- string quartet n°1 -  

Laureate of the Académie Charles Cros 2026 - Album "Zone Grise" (KAIROS)

Commissioned by Ensemble Links

with the support of SACEM

Dedication to Frédéric Durieux

Instrumentation : string quartet

Premiere : 27 & 28 april 2024

Cité internationale Universitaire de Paris (Maison de la Norvège)

& Salle polyvalente, Vincey - France

Performers : string quartet of Ensemble LINKS

Constance Ronzatti, violin

Laurine Rochut, violin

Elodie Gaudet, viola

Anne Mousserion, cello

Duration : 24'30'' ca.

Publisher : Lacroch'

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These "fragrances", these "sons et parfums qui tourbillonnent dans l'air du soir", are initially presented quickly, in the form of a single and introductory gesture (the first movement) before being dissected, listed, combined, developed (in the second movement) according to the traditional organization of an imaginary parfume (base note, top note, heart note), all forming a subtle and intangible sound signature in which the composer first, and then the listener, enjoys recognizing the buried memories that constructed him. The initially ethereal musical expression is gradually transformed, becoming heavy with terrestrial and organic miasms, eventually disappearing, fleeting, but nevertheless transformed in relation to its original state.

Partita I  (2020-21)

for clarinet, saxophone, marimba, percussion and electronics

Dedication: ensembles Proxima Centauri and Regards

Commissioned by ensemble Regards and Sacem

for the semaine du Son de l'UNESCO 2021

Creation November 25, 2021

SCRIME - Salle Hémicyclia (Bordeaux)

Marie-Bernadette Charrier, saxophones;

Jean-Jacques Godron, clarinet,

Aurélien Hadyniak, marimba,

Benoit Poly, percussion

Duration : 7'00 c.a.

Publisher : BabelScores

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Reinvest a space of musical play from our Western culture to divert its codes, work on the re-interpretation of the different sections that comprise the Partita as we find it in the Baroque period, on pulsed or free beats, or simply on our way of apprehending the notion of entertainment today, such could be the stakes of Partita I and Partita II, unless there is ultimately no other intention than that imagined by the listener himself.

Fuite - fuga a tre  (2020)

for flute, viola and harp

dedicated to the New Gates Trio

Creation on September 24, 2020

on the youtube channel "Sonic Post Cards"

Matteo Césari, flute;

Maxime Desert, viola;

Aurélie Saraf, harp.

Duration: 1'18 ''

Publisher : BabelScores

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Timbral Effect  (2020)

for violin, cello, tuba and piano

educational work (level : first cycle)

Création et the conservatoire de Goussainville (95)

by the students of the conservatory,

date :

duration : 4 minutes c.a.

publisher :

Catharsis  (2017-2018)

for ensemble and live-electronics

2 pianists / 2 percussionists

Commande by Ircam - Centre Pompidou

Dédicated to the Link Ensemble

Creation on June 29, 2018 in Paris - Center Pompidou

by the Link Ensemble

(Laurent Durupt and Trami Nguyen, pianos;

Rémi Durupt and Stan Delannoy, percussion)

IRCAM teams - Benjamin Lévy, R.I.M.

Duration : 30 minutes

Etude pour un jour de pluie (2013)

for set of 9 instrumentalists

from the poem "jour de pluie" by Brigitte Athea

(from "Instants de Femme", edition le Bruit des Autres)

Creations June 29, 2013 at Cent-Quatre (Paris)

by the Ensemble InterContemporain

Jean Deroyer, direction

Duration : 8 minutes 30"

 audio link :  http://medias.ircam.fr/xc57581_etude-pour-un-jour-de-pluie-didier-rotella

Strophe 2  (2011)

for clarinet and piano,
Premiered May 27, 2012 at the Kyoto International Festival
Clarinet: Bertrand Laude;

Piano: Tanguy of Willencourt
Duration: 8 minutes

Polychromies 1 (2009-2012)

for flute, clarinet, violin, viola cello and piano

Creation of movements 1 and 2 in November 2010 at CNSMDP

by the Ensemble Multilatérale

Creation of movements 1 and 2 in September 2011

at the Rachmaninoff Hall of Moscow by the Modern Ensemble

Creation of movements 3 and 4 in October 2011 at CNSMDP

by the Ensemble Multilatérale, direction: Kanako Abe

Creation of the movement 5 November 28, 2013 at the CNSMDP

by CNSMDP students,

direction: Javier Gonzales Novales

Duration: 40 minutes

édition : BabelScores

Phonemes (2010, rev.2011)
for clarinet, saxophone and viola

Dedication to Edith Canat de Chizy

Creations June 25, 2010 at the Saint-Merry Church (Paris)

and the 2nd of July at the Pontino Festival (Italy)

by the Ensemble Multilaterale

Duration (of the second version): 8 minutes

Mémorial (2007/2008)

for ensemble of 11 instrumentalists

on a poem by Robert Desnos

Dedication: to my grandfather Alfred Rotella

Creation at the CRR Auditorium in Paris on December 9, 2008

by the students of the CRR,

direction: Jacques Saint-Yves

Duration: 10 minutes

Anathème 2 (2005)

for saxophone et piano

partial creation at the CRR of Boulogne-Billancourt, february 2006

Thibaud Canaval, Saxophone; Didier Rotella, piano

Duration : 13 minutes