Work dedicated to Jérémie Honnoré. Commissioned by the Festival Musique à la Ferme (2014).
The starting point for this piece is my passion for the viola and the desire to write a piece for this instrument. The viola therefore has an important role. It takes a special place in this score. The piano "colours" the viola's voice and increases its dramatic intensity.
With isonata, I wanted to return not to the known forms of the classical sonata, but to return to the starting point of the creation of this form which was: "to provide instrumental music with a musical equivalent to dramatic action (as in the opera or the concerto) by giving a clear definition of the outline of this action (an easily identifiable climax, a point of maximum tension towards which the parts converge...)". (Charles Rosen). I started from this idea of contrast of musical material, of clarity of form, in order to knead the "classical" sonata form.
In isonata, musically my postulate was to superimpose consonant chords (left hand three sound chord, right hand three sound chord) and to use repetition and resonance in order to cut the temporal markers and to work on the musical flow. From these two principles, I created the form and the tension/relaxation of the score by stacking or subtracting musical material.
I then increased the title "sonata" of the "i" which is nowadays perhaps an emblematic letter with the iphone, ipad, imac... I thought that this could make sense with modernity. This letter "i" asked me the question, in my creation, of memory and especially of the fact that our knowledge is now dependent on hard disks or other storage devices. We entrust our knowledge and understanding to our machines. This is disturbing because we now learn more to seek than to remember.
Aren't memory and language gradually being anaesthetized in favour of our machines? That's a bit like that in this room. The language in isonata is as if atrophied, but it keeps all its strength and power.