The typical aggregates in this work will be played by a quick gesture on the keyboard. A musical gesture between anxiety and enthusiasm at the moment of discovering the unknown, leaving the trail of the resonance as the perfume on the skin. These aggregates formed between the white and black keys intermingle gradually in a single body.
Paradoxically this piece called Touch includes the untouchable area blocked by the 3th pedal on the keyboard. It is an inaccessible area for the entire duration of the piece. But this area is, indeed, not mute. It creates ghostly resonance with played notes and this resonance joins infinity and dissolves in memories. Its resonances intertwine and fly through space, creating the sensation of a suspension of time. In the virtuoso passages with the indication «Leggiero & Glamours», I imagined that all these resonances diffract. During the work, the inaccessible zone opens little by little, as if an emotional shock where a change of consciousness had pushed the limit.
It is an extremely fragile, capricious world that can evaporate at any time and fall into a world without dreams.
Touch for piano is a title of a pretension, of an extraordinary ambition because touch is the matrix of sensoriality. There are in this room not just sweetness, sensuality, even eroticism of touch, situations of crises and vertigo, weakness that come to upset the device of perception … There are also moments of luxuriant, lethargy where one feels that the past prevails and this is finally the domain of time. There are also passages of temporal disturbance, the fluidity of delirium, the flight of ideas. All these readings, that’s what makes the originality… All these readings are possible both coexisted… I think irresistibly of Freud who wrote the doctrine of impulses and our mythology
- Interview of Hugues Dufourt, in Le Cris de Patchwork France Musique (25/12/2018)