Lemoine Canatchizy - En Bleu et Or - Alto et Piano

Summary of This Score

In this piece, Edith Canat de Chizy extends her reflection on the links between music and painting, previously explored around Nicolas de Staël ("Les Rayons du jour", concerto for viola) and then Turner. Here, the title echoes a painting by Whistler, from his "Nocturnes" series, particularly admired by Debussy. The allusion to the French composer is deliberate: Whistler's idea that "a nocturne is above all an arrangement of lines, shapes, and colors" resonates with Debussy's formal freedom, of which contemporary creation claims to be heir.

The core of the musical discourse lies in the tension between two poles: movement, the composer's favored language territory, and its deliberately summoned antidote here, stillness. Silence, inner peace, and a form of suspension of time are at the heart of the sound material, as a space for contemplation. This stillness is never frozen: it becomes the place from which momentum is reborn, first fleeting, then progressively more brilliant, like a light that pierces the musical texture.

The mirror structure guides the interpretation: moving from stillness to movement, then from movement back to stillness. For musicians, this viola and piano score invites work on attack quality, sound sustain, resonance management, and sense of trajectory. It naturally finds its place in recitals, auditions, or programs dedicated to contemporary music, where color, listening, and precision of gesture become essential.

Technical specifications

Musical Genre

Classical

Publication

Sheet music

Composer	CANAT de CHIZY Edith	Genre	contemporary
Instrumentation	viola and piano	Year of Publication	2005