Pluie, larmes de la Terre

Rain, Tears of the Earth is a piece for horn and piano. While the health crisis we are going through is causing forced isolation, it is also an opportunity to refocus on what is essential. My need to reconnect with nature was stronger than ever. By rediscovering it, I realized even more intensely how precious it is to us. This is how, concerned about climate change, I began working on this work. If the horn is symbolically a magical instrument, the piano is water, it is Debussy… I thought that a little liquid magic was needed to preserve this nature destroyed by our lifestyles. By mixing these two instruments, I wanted to explore sounds expressing my anxieties: to make the Earth cry. The image of rain and its tears continued to inhabit me during the conception of the piece. The first part is inspired by real rain and the second by the metaphor of tears. The atmosphere is initially mysterious with its fragile sounds. Deep, low-pitched aggregates create a disturbing landscape, contrasting with subtle, luminous chords representing hope. The piano gradually unfolds a flowing motif. The horn, with a veiled sound, intones the work's founding motif. Then the liquid carpet of the keyboard gradually fills the soundscape. Its mellow chords are each time interrupted by a stream of rapid notes flowing from the horn. The latter attempts a song of hope, but the same fate awaits it. This now torrential rain becomes more acidic. Thanks to the intermingling low colors of the two instruments, the Earth purrs, trying to warn us of the threat. The drops of water fall in an unstable rhythm, and the previously liquid motifs become more incisive. Finally, the deluge subsides, leaving us with an empty and desolate landscape. The horn melancholically recalls the work's founding notes, and the piano sprinkles a few pearls of rain—last tears shed? — before returning to the initial texture. This appears refined. In a final suspended moment, the Earth awaits a glimmer of hope. The work is tinged with a sad color. The playing modes used contribute to the development of this particular tone. For the horn, sounds sung in the bass of the horn provoke beats like palpitations of the heart of the suffering Earth; veiled notes (half-stopped); or even the imperfect intonation of its natural harmonics so beautiful and reminiscent of the imperfections of nature. The piano, meanwhile, is prepared with muted strings making the high notes less luminous. It is also widely used in the mid and low registers throughout the piece. If we often feel powerless in the face of the destruction of life forms on our Earth, I remain convinced that we, artists, by playing, singing, writing, must convey this message and hope to awaken consciences. We are lucky to live on a wonderful planet, and it's up to each of us to take care of it. This piece is dedicated to my friends and musicians Alexandre Collard and Nicolas Royez, as well as to their children Anatole and Nine. Camille Pépin