Magie noire
3 Kabbalistic Poems
Samson François, one of the most iconic French figures in the art of piano, left behind sketches of his work Magie Noire (Black Magic) as well as a partial recording. This meticulously crafted work is brought to life here through the musical reconstruction of Dimitri Tchesnokov. At once virtuosic, poetic, and mysterious, Magie Noire reflects Samson François's inner turmoil, reveals his pianistic genius, and allows us to delve into the imagination of the composer he was.
A booklet, designed around this work, rich in illustrations, historical presentation and quotations, accompanies the score.
This entire edition was directed by Frédéric Demoulin.
Read moreDetails
| Instrument family | Piano |
| Catalog classifications | Collection and separate works |
| Instrument nomenclature | piano |
| Total duration | 00:21:30 |
| Publisher | Éditions Billaudot |
| Collection management | DEMOULIN Frédéric |
| Cotage | PN6155 |
| Total number of pages | 60 |
| Languages | French, English |
| Cycle / Level | concert |
| Musical style | Jazz / Blues , Modern |
| Directory type | Original work(s) |
| Copyright year | 2024 |
| EAN code | 9790043097774 |
| EDU complements | Other (exercises, answers, games, etc.) |
Description
Four years after the first premiere of his Concerto in 1951, Samson François gave a concert performance of the 2nd and 3rd Magie Noire (composed in 1951 and 1952 respectively), at the 5th
Music Festival of Vichy 3, on August 30, 1955. In a rare review by Suzanne Demarquez, which was included in the concert program, we learn that Samson's Magie Noire would have “the sole purpose of serving the instrument and of which he is one of the great masters”. She explains that, although Magie Noire does not evoke any known literary text, it is inspired by the poetry which is inherent
“in all creative artists”.
Dimitri Tchesnokov reconstructed each score from the composer's sketches. It became clear that these three pieces were more like poems,forming a single cycle entitled Magie Noire. While the title unambiguously expresses Samson François'intentions, the challenge was to render his vision as faithfully as possible. The difficulty of the task was to translate, and not betray, the composer's musical intention, while at the same time allowing the interpreter the personal liberty afforded, by employing a finely “chiseled” musical notation. Dimitri Tchesnokov, in undertaking this particularly precise challenge, has demonstrated a remarkably intuitive musical sense, without which this valuable musical heritage could not have been restored. As a result, Samson François's ‘etats d’âme’ in Magie Noire are now accessible to an international audience.
