The arrangements of this collection document an increasing distance of the arranger from the original. Ballade IV and Ballade XXVI play with real pitches and the transfer into the weightlessness of natural harmonics. The famous Hoquetus David is atomized into motivic particles while the isorhythmic structure is maintained. The concluding In(ter)ventio is a contemporary objection of the arranger who, in a virtuoso manner, analyses the air of improvisation and the constructive strictness of a quarter-tone prolation canon by using material of the Complainte.
fr 
