The original goal was to construct two chaconnes, or rather a double chaconne, one as a variation of an extremely directive discursive material, the other as a circular evolution of clearly defined figures, capable of exchanging some of their specific criteria. One could indeed speak of "gestural modulation," in the same sense as the famous ring modulation. I have attempted here to give silence a strong functional value, ensuring a mirage of perception and discourse. At the beginning of the chaconne, a three-beat measure, alert and incisive, preliminary, is followed by a silence more than twice as long. 1) We still hear the previous measure resonating during the silence. The latter functions as a memory of the previous fragment. After a certain time of silence, the auditory image fades and only the salient element constituted by the pizzicato emerges: the fossilization operated by silence also acts as a filter. 2) The silence, by its duration, will prepare us (through questioning) for the continuation of the discourse: the balance between the different elements of measures 1 and 3 will be much sharper thanks to this silence: it therefore has a discriminating role with regard to the figural elements at play. a) Either the pizzicato of measure 1, which will be repeated in measure 3, will be integrated into the discourse and thus become a "confirmed sequence": pizzicato silence pizzicato b) or the pizzicato will not be repeated afterwards and will acquire a particular, distinctive signal value. It is this proposition b that will serve as the starting point, the very principle of the work. The first part (tempo I) of the chaconne - which has the value of a model - uses only one silence, which gives it its emblematic value. Five particular elements are exposed within a structure of fluctuating, fleeting pitches, polarizing little the perception of remarkable events. It is thanks to the silences that these main elements will evolve and recombine: each silence triggers a change of element. We are therefore indeed in the presence of a double chaconne insofar as this gestural strategy of silence is accomplished from a rhythmic/melodic material of a "background" chaconne, I would say, possessing its own structural autonomy, hence the "mirage" I mentioned above. (Brice Pauset)
en 
